{"rowid": 191, "title": "CSS Animations", "contents": "Friend: You should learn how to write CSS!\nMe: \u2026\nFriend: CSS; Cascading Style Sheets. If you\u2019re serious about web design, that\u2019s the next thing you should learn.\nMe: What\u2019s wrong with <font> tags?\n\nThat was 8 years ago. Thanks to the hard work of Jeffrey, Andy, Andy, Cameron, Colly, Dan and many others, learning how to decently markup a website and write lightweight stylesheets was surprisingly easy. They made it so easy even a complete idiot (OH HAI) was able to quickly master it.\n\nAnd then\u2026 nothing. For a long time, it seemed like there wasn\u2019t happening anything in the land of CSS, time stood still. Once you knew the basics, there wasn\u2019t anything new to keep up with. It looked like a great band split, but people just kept re-releasing their music in various \u201cBest Of!\u201d or \u201cRemastered!\u201d albums.\n\nFast forward a couple of years to late 2006. On the official WebKit blog Surfin\u2019 Safari, there\u2019s an article about something called CSS animations. Great new stuff to play with, but only supported by nightly builds (read: very, very beta) of WebKit. In the following months, they release other goodies, like CSS gradients, CSS reflections, CSS masks, and even more CSS animation sexiness. Whoa, looks like the band got back together, found their second youth, and went into overdrive! The problem was that if you wanted to listen to their new albums, you had to own some kind of new high-tech player no one on earth (besides some early adopters) owned.\n\nBack in the time machine. It is now late 2009, close to Christmas. Things have changed. Browsers supporting these new toys are widely available left and right. Even non-techies are using these advanced browsers to surf the web on a daily basis!\n\nEpic win? Almost, but at least this gives us enough reason to start learning how we could use all this new CSS voodoo. On Monday, Natalie Downe showed you a good tutorial on Going Nuts with CSS Transitions. Today, I\u2019m taking it one step further\u2026\n\nHowto: A basic spinner\n\nNo matter how fast internet tubes or servers are, we\u2019ll always need spinners to indicate something\u2019s happening behind the scenes. Up until now, people would go to some site, pick one of the available templates, customize their foreground and background colors, and download a beautiful GIF image.\n\nThere are some downsides to this though:\n\n\n\tIt\u2019s only _semi_-transparent: If you change your mind and pick a slightly different background color, you need to go back to the site, set all the parameters again, and replace your current image. There isn\u2019t even a way to pick an image or gradient as background.\n\tLimited number of frames, probable to keep the file-size as small as possible (don\u2019t forget this thing needs to be loaded before whatever process is finished in the background), and you don\u2019t have that 24 frames per second smoothness.\n\tThis is just too fucking easy. As a front-end code geek, there must be a \u201ccooler\u201d way to do this!\n\n\nWhat do we need to make a spinner with CSS animations? One image, and one element on our webpage we can hook on to. Yes, that\u2019s it. I created a simple transparent PNG that looks it might be a spinner, and for the element on the page, I wrote this piece of genius HTML:\n\n<p id=\"spinner\">Please wait while we do what we do best.</p>\n\nLooks semantic enough to me! Here\u2019s the basic HTML I\u2019m using to position the element in the center of the screen, and make the text inside it disappear:\n\n#spinner {\n\tposition: absolute;\n\ttop: 50%;\n\tleft: 50%;\n\tmargin: -100px 0 0 -100px;\n\theight: 200px;\n\twidth: 200px;\n\ttext-indent: 250px;\n\twhite-space: nowrap;\n\toverflow: hidden;\n}\n\nCool, but now we don\u2019t see anything. Let\u2019s pull rabbit number one out of the hat: -webkit-mask-image (accompanied by the previously mentioned transparent PNG image):\n\n#spinner {\n\t...\n\t-webkit-mask-image: url(../img/spinner.png);\n}\n\nBy now you should be feeling like a magician already. Oh, wait, we still have a blank screen, looks like we left something in the hat (tip: not rabbit droppings):\n\n#spinner {\n\t...\n\t-webkit-mask-image: url(../img/spinner.png);\n\tbackground-color: #000;\n}\n\nNice! What we\u2019ve done right here is telling the element to clip onto the PNG. It\u2019s a lot like clipping layers in Photoshop. So, spinners, they move, right? Into the hat again, and look what we pull out this time: CSS animations!\n\n#spinner {\n\t...\n\t-webkit-mask-image: url(../img/spinner.png);\n\tbackground-color: #000;\n\t-webkit-animation-name: spinnerRotate;\n\t-webkit-animation-duration: 2s;\n\t-webkit-animation-iteration-count: infinite;\n\t-webkit-animation-timing-function: linear;\n}\n\nSome explanation:\n\n\n\t-webkit-animation-name: Name of the animation we\u2019ll be defining later.\n\t-webkit-animation-duration: The timespan of the animation.\n\t-webkit-animation-iteration-count: Repeat once, a defined number of times or infinitely?\n\t-webkit-animation-timing-function: Linear is the one you\u2019ll be using mostly. Other options are ease-in, ease-out, ease-in-out\u2026\n\n\nLet\u2019s define spinnerRotate:\n\n@-webkit-keyframes spinnerRotate {\n\tfrom {\n\t\t-webkit-transform:rotate(0deg);\n\t}\n\tto {\n\t\t-webkit-transform:rotate(360deg);\n\t}\n}\n\nEn Anglais: Rotate #spinner starting at 0 degrees, ending at 360 degrees, over a timespan of 2 seconds, at a constant speed, and keep repeating this animation forever.\n\nThat\u2019s it! See it in action on the demo page.\n\nNote: these examples only work when you\u2019re using a WebKit-based browser like Safari, Mobile Safari or Google Chrome. I\u2019m confident though that Mozilla and Opera will try their very best catching up with all this new CSS goodness soon.\n\nWhen looking at this example, you see the possibilities are endless. Another advantage is you can change the look of it entirely by only changing a couple of lines of CSS, instead of re-creating and re-downloading the image from some website smelling like web 2.0 gone bad. I made another demo that shows how great it is to be able to change background and foreground colors (even on the fly!).\n\nSo there you have it, a smoothly animated, fully transparent and completely customizable spinner. Cool? I think so. (Ladies?)\n\nBut you can do a lot more with CSS animations than just create pretty spinners. Since I was fooling around with it anyway, I decided to test how far you can push this, space is the final limit, right?\n\nConclusion\n\nCSS has never been more exciting than it is right now. I\u2019m even prepared to say CSS is \u201ccool\u201d again, both for the more experienced front-end developers as for the new designers discovering CSS every day now.\n\nBut\u2026\n\nRemember when Javascript became popular? Remember when Flash became popular? Every time we\u2019re been given new toys, some people aren\u2019t ashamed to use it in a way you can barely call constructive. I\u2019m thinking of Geocities websites, loaded with glowing blocks of text, moving images, bad color usage\u2026 In the wise words of Stan Lee: With great power there must also come great responsibility! A sprinkle of CSS animations is better than a bucket load. Apply with care.", "year": "2009", "author": "Tim Van Damme", "author_slug": "timvandamme", "published": "2009-12-15T00:00:00+00:00", "url": "https://24ways.org/2009/css-animations/", "topic": "code"}
{"rowid": 183, "title": "Designing For The Switch", "contents": "For a long time on the web, we\u2019ve been typographically spoilt. Yes, you heard me correctly. Think about it: our computers come with web fonts already installed; fonts that have been designed specifically to work well online and at small size; and fonts that we can be sure other people have too. \n\nYes, we\u2019ve been spoilt. We don\u2019t need to think about using Verdana, Arial, Georgia or Cambria. \n\nYet, for a long time now, designers have felt we needed more. We want to choose whatever typeface we feel necessary for our designs. We did bad things along the way in pursuit of this goal such as images for text. Smart people dreamt up tools to help us such as sIFR, or Cuf\u00f3n. Only fairly recently, @font-face is supported in most browsers. The floodgates are opening. It really is the dawn of a new typographic era on the web. And we must tread carefully. \n\nThe New Typesetters \n\nMany years ago, before the advent of desktop publishing, if you wanted words set in a particular typeface, you had to go to a Typesetter. A Typesetter, or Compositor, as they were sometimes called, was a person whose job it was to take the written word (in the form of a document or manuscript) and \u2018set\u2019 the type in the desired typeface. The designer would chose what typeface they wanted \u2013 and all the ligatures, underlines, italics and whatnot \u2013 and then scribble all over the manuscript so the typesetter could set the correct type.  \n\nThen along came Desktop Publishing and every Tom, Dick and Harry could choose type on their computer and an entire link in the typographic chain was removed within just a few years. Well, that\u2019s progress I guess. That was until six months ago when Typesetting was reborn on the web in the guise of a font service: Typekit. \n\nTypekit \u2013 and services like Typekit such as Typotheque, Kernest and the upcoming Fontdeck \u2013 are typesetting services for the web. You supply them with your content, in the form of a webpage, and they provide you with some JavaScript to render that webpage in the typeface you\u2019ve specified simply by adding the font name in your CSS file. \n\nThanks to services like these, font foundries are now talking to create licensing structures to allow us to embed fonts into our web pages legally \u2013 which has always been a sticking point in the past. So, finally, us designers can get what we want: whatever typeface we want on the web. \n\nYes, but\u2026 there are hurdles. One of which is the subject of this article. \n\nThe differences between Web Fonts and other fonts \n\nWeb fonts are different to normal fonts. They differ in a whole bunch of ways, from loose letter spacing to larger x-heights. But perhaps the most notable practical difference is file size. Let\u2019s take a look at one of Typekit\u2019s latest additions from the FontFont library, Meta. \n\nMeta Roman weighs in at 42 KB. This is a fairly typical file size for a single weight of a good font. Now, let\u2019s have a look at Verdana. Verdana is 186 KB. For one weight. The four weight family for Verdana weighs in at 686 KB. Four weights for half a megabyte!? Why so huge? \n\nWell, Verdana has a lot of information packed into its 186 KB. It has the largest hinting data table of any typeface (the information carried by a font that tells it how to align itself to the pixels on your screen). As it has been shipped with Microsoft products since 1996, it has had time to grow to support many, many languages. Along with its cousin, Georgia (283 KB), Verdana was a new breed of typeface. And it\u2019s grown fat.  \n\nIf really serious web typography takes off \u2013 and by that I mean typefaces specifically designed for the screen \u2013 then we\u2019re going to see more fonts increase in file size as the font files include more data. So, if you\u2019re embedding a font weighing in at 100 KB, what happens? \n\nThe Flash of Unstyled Text \n\nWe all remember the Flash of Unstyled Content bug on Internet Explorer, right? That annoying bug that caused a momentary flash of unstyled HTML page. Well, the same thing can happen with embedding fonts using @font-face. An effect called The Flash of Unstyled Text (FOUT), first coined by Paul Irish. Personally, I prefer to call it the Flash of UnTypeset Text (still FOUT), as the text is styled, just not with what you want. \n\nIf you embed a typeface in your CSS, then the browser will download that typeface. Typically, browsers differ in the way they handle this procedure. \n\nFirefox and Opera will render the text using the next font in your font stack until the first (embedded) font is loaded. It will then switch to the embedded font. \n\nWebkit takes the approach that you asked for that font so it will wait until it\u2019s completely loaded before showing it you. \n\nIn Opera and Firefox, you get a FOUT. In Webkit, you don\u2019t. You wait. \n\nHang on there. Didn\u2019t I say that good web fonts weigh in considerably more than \u2018normal\u2019 fonts?   And whilst the browser is downloading the font, the user gets what to look at? Some pictures, background colours and whatever else isn\u2019t HTML? I believe Webkit\u2019s handling of font embedding \u2013 as deliberate as it is \u2013 is damaging to the practice of font embedding. Why? Well, we can design to a switch in typeface (as jarring as that is for the user), but we can\u2019t design to blank space. \n\nLet\u2019s have a closer look at how we can design to FOUT. \n\nMore considered font stacks \n\nWe all know that font stacks in CSS are there for when a user doesn\u2019t have a font; the browser will jump to the next one in the stack. Adding embedded fonts into the font stack means that because of FOUT (in gecko and Opera), the user can see a switch, and depending on their connection that switch could happen well into any reading that the user may be doing. \n\nThe practicalities of this are that a user could be reading and be towards the end of a line when the paragraph they are reading changes shape. The word they were digesting suddenly changes to three lines down. It\u2019s the online equivalent of someone turning the page for you when you least expect it. So, how can we think about our font stacks slightly differently so we can minimise the switch? \n\nTwo years ago, Richard Rutter wrote on this very site about increasing our font stacks. By increasing the font stacks (by using his handy matrix) we can begin to experiment with different typefaces. However, when we embed a typeface, we must look very carefully at the typefaces in the font stack and the relationship between them. Because, previously, the user would not see a switch from one typeface to another, they\u2019d just get either one or the other. Not both. With FOUT, the user sees two typefaces. \n\nBy carefully looking at the characteristics of the typefaces you choose, you can minimise the typographic \u2018distance\u2019 between the type down the stack. In doing so, you minimise the jarring effect of the switch. \n\nLet\u2019s take a look at an example of how to go about this.  \n\nMicro Typography to build better font stacks \n\nLet\u2019s say I want to use a recent edition to Typekit \u2013 Meta Serif Book \u2013 as my embedded font. My font stack would start like this: \n\nfont-family: 'Meta Serif Bold'; \n\nWhere do you go from here? Well, first, familiarise yourself with Richard\u2019s Font Matrix so you get an idea of what fonts are available for different people. Then start by looking closely at the characters of the embedded font and then compare them to different fonts from the matrix. \n\nWhen I do this, I\u2019m looking to match type characteristics such as x-height, contrast (the thickness and thinness of strokes), the stress (the angle of contrast) and the shape of the serifs (if the typeface has any). \n\n\n\nUsing just these simple comparative metrics means you can get to a \u2018best fit\u2019 reasonably quickly. And remember, you\u2019re not after an ideal match. You\u2019re after a match that means the switch is less painful for the reader, but also a typeface that carries similar characteristics so your design doesn\u2019t change too much. \n\nBuilding upon my choice of embedded font, I can quickly build up a stack by comparing letters. \n\n\n\nThis then creates my \u2018best fit\u2019 stack. \n\n\n\nThis translates to the CSS as: \n\nfont-family: 'Meta Serif Bold', 'Lucida Bright', Cambria, Georgia, serif \n\nFollowing this process, and ending up with considered font stacks, means that we can design to the Flash of UnTypeset Content and ensure that our readers don\u2019t get a diminished experience.", "year": "2009", "author": "Mark Boulton", "author_slug": "markboulton", "published": "2009-12-16T00:00:00+00:00", "url": "https://24ways.org/2009/designing-for-the-switch/", "topic": "design"}
{"rowid": 188, "title": "Don't Lose Your :focus", "contents": "For many web designers, accessibility conjures up images of blind users with screenreaders, and the difficulties in making sites accessible to this particular audience. Of course, accessibility covers a wide range of situations that go beyond the extreme example of screenreader users. And while it\u2019s true that making a complex site accessible can often be a daunting prospect, there are also many small things that don\u2019t take anything more than a bit of judicious planning, are very easy to test (without having to buy expensive assistive technology), and can make all the difference to certain user groups.\n\nIn this short article we\u2019ll focus on keyboard accessibility and how careless use of CSS can potentially make your sites completely unusable.\n\nKeyboard Access\n\nUsers who for whatever reason can\u2019t use a mouse will employ a keyboard (or keyboard-like custom interface) to navigate around web pages. By default, they will use TAB and SHIFT + TAB to move from one focusable element (links, form controls and area) of a page to the next.\n\nNote: in OS X, you\u2019ll first need to turn on full keyboard access under System Preferences > Keyboard and Mouse > Keyboard Shortcuts. Safari under Windows needs to have the option Press Tab to highlight each item on a webpage in Preferences > Advanced enabled. Opera is the odd one out, as it has a variety of keyboard navigation options \u2013 the most relevant here being spatial navigation via Shift+Down, Shift+Up, Shift+Left, and Shift+Right).\n\nBut I Don\u2019t Like Your Dotted Lines\u2026\n\nTo show users where they are within a page, browsers place an outline around the element that currently has focus. The \u201cproblem\u201d with these default outlines is that some browsers (Internet Explorer and Firefox) also display them when a user clicks on a focusable element with the mouse. Particularly on sites that make extensive use of image replacement on links with \u201coff left\u201d techniques this can create very unsightly outlines that stretch from the replaced element all the way to the left edge of the browser.\n\n Outline bleeding off to the left (image-replacement example from carsonified.com)\n\nThere is a trivial workaround to prevent outlines from \u201cspilling over\u201d by adding a simple overflow:hidden, which keeps the outline in check around the clickable portion of the image-replaced element itself.\n\n Outline tamed with overflow:hidden\n\nBut for many designers, even this is not enough. As a final solution, many actively suppress outlines altogether in their stylesheets. Controversially, even Eric Meyer\u2019s popular reset.css \u2013 an otherwise excellent set of styles that levels the playing field of varying browser defaults \u2013 suppresses outlines.\n\nhtml, body, div, span, applet, object, iframe ... {\n\t...\n\toutline: 0;\n\t...\n}\n/* remember to define focus styles! */\n:focus {\n\toutline: 0;\n}\n\nYes, in his explanation (and in the CSS itself) Eric does remind designers to define relevant styles for :focus\u2026 but judging by the number of sites that seem to ignore this (and often remove the related comment from the stylesheet altogether), the message doesn\u2019t seem to have sunk in.\n\nAnyway\u2026 hurrah! No more unsightly dotted lines on our lovely design. But what about keyboard users? Although technically they can still TAB from one element to the next, they now get no default cue as to where they are within the page (one notable exception here is Opera, where the outline is displayed regardless of stylesheets)\u2026 and if they\u2019re Safari users, they won\u2019t even get an indication of a link\u2019s target in the status bar, like they would if they hovered over it with the mouse.\n\nOnly Suppress outline For Mouse Users\n\nIs there a way to allow users navigating with the keyboard to retain the standard outline behaviour they\u2019ve come to expect from their browser, while also ensuring that it doesn\u2019t show display for mouse users?\n\n Testing some convoluted style combinations\n\nAfter playing with various approaches (see Better CSS outline suppression for more details), the most elegant solution also seemed to be the simplest: don\u2019t remove the outline on :focus, do it on :active instead \u2013 after all, :active is the dynamic pseudo-class that deals explicitly with the styles that should be applied when a focusable element is clicked or otherwise activated.\n\na:active { outline: none; }\n\nThe only minor issues with this method: if a user activates a link and then uses the browser\u2019s back button, the outline becomes visible. Oh, and old versions of Internet Explorer notoriously get confused by the exact meaning of :focus, :hover and :active, so this method fails in IE6 and below. Personally, I can live with both of these.\n\nNote: at the last minute before submitting this article, I discovered a fatal flaw in my test. It appears that outline still manages to appear in the time between activating a link and the link target loading (which in hindsight is logical \u2013 after activation, the link does indeed receive focus). As my test page only used in-page links, this issue never came up before. The slightly less elegant solution is to also suppress the outline on :hover.\n\na:hover, a:active { outline: none; }\n\nIn Conclusion\n\nOf course, many web designers may argue that they know what\u2019s best, even for their keyboard-using audience. Maybe they\u2019ve removed the default outline and are instead providing some carefully designed :focus styles. If they know for sure that these custom styles are indeed a reliable alternative for their users, more power to them\u2026 but, at the risk of sounding like Jakob \u201cblue underlined links\u201d Nielsen, I\u2019d still argue that sometimes the default browser behaviours are best left alone. Complemented, yes (and if you\u2019re already defining some fancy styles for :hover, by all means feel free to also make them display on :focus)\u2026 but not suppressed.", "year": "2009", "author": "Patrick Lauke", "author_slug": "patricklauke", "published": "2009-12-09T00:00:00+00:00", "url": "https://24ways.org/2009/dont-lose-your-focus/", "topic": "code"}
{"rowid": 175, "title": "Front-End Code Reusability with CSS and JavaScript", "contents": "Most web standards-based developers are more than familiar with creating their sites with semantic HTML with lots and lots of CSS. With each new page in a design, the CSS tends to grow and grow and more elements and styles are added. But CSS can be used to better effect.\n\nThe idea of object-oriented CSS isn\u2019t new. Nicole Sullivan has written a presentation on the subject and outlines two main concepts: separate structure and visual design; and separate container and content. Jeff Croft talks about Applying OOP Concepts to CSS:\n\n\n\tI can make a class of .box that defines some basic layout structure, and another class of .rounded that provides rounded corners, and classes of .wide and .narrow that define some widths, and then easily create boxes of varying widths and styles by assigning multiple classes to an element, without having to duplicate code in my CSS.\n\n\nThis concept helps reduce CSS file size, allows for great flexibility, rapid building of similar content areas and means greater consistency throughout the entire design. You can also take this concept one step further and apply it to site behaviour with JavaScript.\n\nBuild a versatile slideshow\n\nI will show you how to build multiple slideshows using jQuery, allowing varying levels of functionality which you may find on one site design. The code will be flexible enough to allow you to add previous/next links, image pagination and the ability to change the animation type. More importantly, it will allow you to apply any combination of these features.\n\nImage galleries are simply a list of images, so the obvious choice of marking the content up is to use a <ul>. Many designs, however, do not cater to non-JavaScript versions of the website, and thus don\u2019t take in to account large multiple images. You could also simply hide all the other images in the list, apart from the first image. This method can waste bandwidth because the other images might be downloaded when they are never going to be seen.\n\nTaking this second concept \u2014 only showing one image \u2014 the only code you need to start your slideshow is an <img> tag. The other images can be loaded dynamically via either a per-page JavaScript array or via AJAX.\n\nThe slideshow concept is built upon the very versatile Cycle jQuery Plugin and is structured in to another reusable jQuery plugin. Below is the HTML and JavaScript snippet needed to run every different type of slideshow I have mentioned above.\n\n<img src=\"path/to/image.jpg\" alt=\"About the image\" title=\"\" height=\"250\" width=\"400\" class=\"slideshow\">\n<script type=\"text/javascript\">\n\tjQuery().ready(function($) {\n\t\t$('img.slideshow').slideShow({\n\t\t\timages: ['1.jpg', '2.jpg', '3.jpg']\n\t\t});\n\t});\n</script>\n\nSlideshow plugin\n\nIf you\u2019re not familiar with jQuery or how to write and author your own plugin there are plenty of articles to help you out.\n\njQuery has a chainable interface and this is something your plugin must implement. This is easy to achieve, so your plugin simply returns the collection it is using:\n\nreturn this.each(\n\tfunction () {}\n};\n\nLocal Variables\n\nTo keep the JavaScript clean and avoid any conflicts, you must set up any variables which are local to the plugin and should be used on each collection item. Defining all your variables at the top under one statement makes adding more and finding which variables are used easier. For other tips, conventions and improvements check out JSLint, the \u201cJavaScript Code Quality Tool\u201d.\n\nvar $$, $div, $images, $arrows, $pager,\n\tid, selector, path, o, options,\n\theight, width,\n\tlist = [], li = 0,\n\tparts = [], pi = 0,\n\tarrows = ['Previous', 'Next'];\n\nCache jQuery Objects\n\nIt is good practice to cache any calls made to jQuery. This reduces wasted DOM calls, can improve the speed of your JavaScript code and makes code more reusable.\n\nThe following code snippet caches the current selected DOM element as a jQuery object using the variable name $$. Secondly, the plugin makes its settings available to the Metadata plugin\u2021 which is best practice within jQuery plugins.\n\nFor each slideshow the plugin generates a <div> with a class of slideshow and a unique id. This is used to wrap the slideshow images, pagination and controls.\n\nThe base path which is used for all the images in the slideshow is calculated based on the existing image which appears on the page. For example, if the path to the image on the page was /img/flowers/1.jpg the plugin would use the path /img/flowers/ to load the other images.\n\n$$ = $(this);\no = $.metadata ? $.extend({}, settings, $$.metadata()) : settings;\nid = 'slideshow-' + (i++ + 1);\n$div = $('<div />').addClass('slideshow').attr('id', id);\nselector = '#' + id + ' ';\npath = $$.attr('src').replace(/[0-9]\\.jpg/g, '');\noptions = {};\nheight = $$.height();\nwidth = $$.width();\n\nNote: the plugin uses conventions such as folder structure and numeric filenames. These conventions help with the reusable aspect of plugins and best practices.\n\nBuild the Images\n\nThe cycle plugin uses a list of images to create the slideshow. Because we chose to start with one image we must now build the list programmatically. This is a case of looping through the images which were added via the plugin options, building the appropriate HTML and appending the resulting <ul> to the DOM.\n\n$.each(o.images, function () {\n\tlist[li++] = '<li>';\n\tlist[li++] = '<img src=\"' + path + this + '\" height=\"' + height + '\" width=\"' + width + '\">';\n\tlist[li++] = '</li>';\n});\n$images = $('<ul />').addClass('cycle-images');\n$images.append(list.join('')).appendTo($div);\n\nAlthough jQuery provides the append method it is much faster to create one really long string and append it to the DOM at the end.\n\nUpdate the Options\n\nHere are some of the options we\u2019re making available by simply adding classes to the <img>. You can change the slideshow effect from the default fade to the sliding effect. By adding the class of stopped the slideshow will not auto-play and must be controlled via pagination or previous and next links.\n\n// different effect\nif ($$.is('.slide')) {\n\toptions.fx = 'scrollHorz';\n}\n// don't move by default\nif ($$.is('.stopped')) {\n\toptions.timeout = 0;\n}\n\nIf you are using the same set of images throughout a website you may wish to start on a different image on each page or section. This can be easily achieved by simply adding the appropriate starting class to the <img>.\n\n// based on the class name on the image\nif ($$.is('[class*=start-]')) {\n\toptions.startingSlide = parseInt($$.attr('class').replace(/.*start-([0-9]+).*/g, \"$1\"), 10) - 1;\n}\n\nFor example:\n\n<img src=\"/img/slideshow/3.jpg\" alt=\"About the image\" title=\"\" height=\"250\" width=\"400\" class=\"slideshow start-3\">\n\nBy default, and without JavaScript, the third image in this slideshow is shown. When the JavaScript is applied to the page the slideshow must know to start from the correct place, this is why the start class is required.\n\nYou could capture the default image name and parse it to get the position, but only the default image needs to be numeric to work with this plugin (and could easily be changed in future). Therefore, this extra specifically defined option means the plugin is more tolerant.\n\nPrevious/Next Links\n\nA common feature of slideshows is previous and next links enabling the user to manually progress the images. The Cycle plugin supports this functionality, but you must generate the markup yourself. Most people add these directly in the HTML but normally only support their behaviour when JavaScript is enabled. This goes against progressive enhancement. To keep with the best practice progress enhancement method the previous/next links should be generated with JavaScript.\n\nThe follow snippet checks whether the slideshow requires the previous/next links, via the arrows class. It restricts the Cycle plugin to the specific slideshow using the selector we created at the top of the plugin. This means multiple slideshows can run on one page without conflicting each other.\n\nThe code creates a <ul> using the arrows array we defined at the top of the plugin. It also adds a class to the slideshow container, meaning you can style different combinations of options in your CSS.\n\n// create the arrows\nif ($$.is('.arrows') && list.length > 1) {\n\toptions.next = selector + '.next';\n\toptions.prev = selector + '.previous';\n\t$arrows = $('<ul />').addClass('cycle-arrows');\n\t$.each(arrows, function (i, val) {\n\t\tparts[pi++] = '<li class=\"' + val.toLowerCase() + '\">';\n\t\tparts[pi++] = '<a href=\"#' + val.toLowerCase() + '\">';\n\t\tparts[pi++] = '<span>' + val + '</span>';\n\t\tparts[pi++] = '</a>';\n\t\tparts[pi++] = '</li>';\n\t});\n\t$arrows.append(parts.join('')).appendTo($div);\n\t$div.addClass('has-cycle-arrows');\n}\n\nThe arrow array could be placed inside the plugin settings to allow for localisation.\n\nPagination\n\nThe Cycle plugin creates its own HTML for the pagination of the slideshow. All our plugin needs to do is create the list and selector to use. This snippet creates the pagination container and appends it to our specific slideshow container. It sets the Cycle plugin pager option, restricting it to the specific slideshow using the selector we created at the top of the plugin. Like the previous/next links, a class is added to the slideshow container allowing you to style the slideshow itself differently.\n\n// create the clickable pagination\nif ($$.is('.pagination') && list.length > 1) {\n\toptions.pager = selector + '.cycle-pagination';\n\t$pager = $('<ul />').addClass('cycle-pagination');\n\t$pager.appendTo($div);\n\t$div.addClass('has-cycle-pagination');\n}\n\nNote: the Cycle plugin creates a <ul> with anchors listed directly inside without the surrounding <li>. Unfortunately this is invalid markup but the code still works.\n\nDemos\n\nWell, that describes all the ins-and-outs of the plugin, but demos make it easier to understand! Viewing the source on the demo page shows some of the combinations you can create with a simple <img>, a few classes and some thought-out JavaScript.\n\nView the demos \u2192\n\nDecide on defaults\n\nThe slideshow plugin uses the exact same settings as the Cycle plugin, but some are explicitly set within the slideshow plugin when using the classes you have set.\n\nWhen deciding on what functionality is going to be controlled via this class method, be careful to choose your defaults wisely. If all slideshows should auto-play, don\u2019t make this an option \u2014 make the option to stop the auto-play. Similarly, if every slideshow should have previous/next functionality make this the default and expose the ability to remove them with a class such as \u201cno-pagination\u201d.\n\nIn the examples presented on this article I have used a class on each <img>. You can easily change this to anything you want and simply apply the plugin based on the jQuery selector required.\n\nGrab your images\n\nIf you are using AJAX to load in your images, you can speed up development by deciding on and keeping to a folder structure and naming convention. There are two methods: basing the image path based on the current URL; or based on the src of the image. The first allows a different slideshow on each page, but in many instances a site will have a couple of sets of images and therefore the second method is probably preferred.\n\nMetadata \u2021\n\nA method which allows you to directly modify settings in certain plugins, which also uses the classes from your HTML already exists. This is a jQuery plugin called Metadata. This method allows for finer control over the plugin settings themselves. Some people, however, may dislike the syntax and prefer using normal classes, like above which when sprinkled with a bit more JavaScript allows you to control what you need to control.\n\nThe takeaway\n\nHopefully you have understood not only what goes in to a basic jQuery plugin but also learnt a new and powerful idea which you can apply to other areas of your website.\n\nThe idea can also be applied to other common interfaces such as lightboxes or mapping services such as Google Maps \u2014 for example creating markers based on a list of places, each with different pin icons based the anchor class.", "year": "2009", "author": "Trevor Morris", "author_slug": "trevormorris", "published": "2009-12-06T00:00:00+00:00", "url": "https://24ways.org/2009/front-end-code-reusability-with-css-and-javascript/", "topic": "code"}
{"rowid": 180, "title": "Going Nuts with CSS Transitions", "contents": "I\u2019m going to show you how CSS 3 transforms and WebKit transitions can add zing to the way you present images on your site.\n\nLaying the foundations\n\nFirst we are going to make our images look like mini polaroids with captions. Here\u2019s the markup:\n\n<div class=\"polaroid pull-right\">\n\t<img src=\"../img/seal.jpg\" alt=\"\">\n\t<p class=\"caption\">Found this little cutie on a walk in New Zealand!</p>\n</div>\n\nYou\u2019ll notice we\u2019re using a somewhat presentational class of pull-right here. This means the logic is kept separate from the code that applies the polaroid effect. The polaroid class has no positioning, which allows it to be used generically anywhere that the effect is required. The pull classes set a float and add appropriate margins\u2014they can be used for things like blockquotes as well.\n\n.polaroid {\n\twidth: 150px;\n\tpadding: 10px 10px 20px 10px;\n\tborder: 1px solid #BFBFBF;\n\tbackground-color: white;\n\t-webkit-box-shadow: 2px 2px 3px rgba(135, 139, 144, 0.4);\n\t-moz-box-shadow: 2px 2px 3px rgba(135, 139, 144, 0.4);\n\tbox-shadow: 2px 2px 3px rgba(135, 139, 144, 0.4);\n}\n\nThe actual polaroid effect itself is simply applied using padding, a border and a background colour. We also apply a nice subtle box shadow, using a property that is supported by modern WebKit browsers and Firefox 3.5+. We include the box-shadow property last to ensure that future browsers that support the eventual CSS3 specified version natively will use that implementation over the legacy browser specific version.\n\nThe box-shadow property takes four values: three lengths and a colour. The first is the horizontal offset of the shadow\u2014positive values place the shadow on the right, while negative values place it to the left. The second is the vertical offset, positive meaning below. If both of these are set to 0, the shadow is positioned equally on all four sides. The last length value sets the blur radius\u2014the larger the number, the blurrier the shadow (therefore the darker you need to make the colour to have an effect).\n\nThe colour value can be given in any format recognised by CSS. Here, we\u2019re using rgba as explained by Drew behind the first door of this year\u2019s calendar.\n\nRotation\n\nFor browsers that understand it (currently our old favourites WebKit and FF3.5+) we can add some visual flair by rotating the image, using the transform CSS 3 property.\n\n-webkit-transform: rotate(9deg);\n-moz-transform: rotate(9deg);\ntransform: rotate(9deg);\n\nRotations can be specified in degrees, radians (rads) or grads. WebKit also supports turns unfortunately Firefox doesn\u2019t just yet.\n\nFor our example, we want any polaroid images on the left hand side to be rotated in the opposite direction, using a negative degree value:\n\n.pull-left.polaroid {\n\t-webkit-transform: rotate(-9deg);\n\t-moz-transform: rotate(-9deg);\n\ttransform: rotate(-9deg);\n}\n\nMultiple class selectors don\u2019t work in IE6 but as luck would have it, the transform property doesn\u2019t work in any current IE version either. The above code is a good example of progressive enrichment: browsers that don\u2019t support box-shadow or transform will still see the image and basic polaroid effect.\n\n\n\nAnimation\n\nWebKit is unique amongst browser rendering engines in that it allows animation to be specified in pure CSS. Although this may never actually make it in to the CSS 3 specification, it degrades nicely and more importantly is an awful lot of fun!\n\nLet\u2019s go nuts.\n\nIn the next demo, the image is contained within a link and mousing over that link causes the polaroid to animate from being angled to being straight.\n\nHere\u2019s our new markup:\n\n<a href=\"http://www.flickr.com/photos/nataliedowne/2340993237/\" class=\"polaroid\">\n\t<img src=\"../img/raft.jpg\" alt=\"\">\n\tWhite water rafting in Queenstown\n</a>\n\nAnd here are the relevant lines of CSS:\n\na.polaroid {\n\t/* ... */\n   -webkit-transform: rotate(10deg);\n   -webkit-transition: -webkit-transform 0.5s ease-in;\n}\na.polaroid:hover,\na.polaroid:focus,\na.polaroid:active {\n\t/* ... */\n\t-webkit-transform: rotate(0deg);\n}\n\nThe @-webkit-transition@ property is the magic wand that sets up the animation. It takes three values: the property to be animated, the duration of the animation and a \u2018timing function\u2019 (which affects the animation\u2019s acceleration, for a smoother effect).\n\n-webkit-transition only takes affect when the specified property changes. In pure CSS, this is done using dynamic pseudo-classes. You can also change the properties using JavaScript, but that\u2019s a story for another time.\n\nThrowing polaroids at a table\n\nImagine there are lots of differently sized polaroid photos scattered on a table. That\u2019s the effect we are aiming for with our next demo.\n\n\n\nAs an aside: we are using absolute positioning to arrange the images inside a flexible width container (with a minimum and maximum width specified in pixels). As some are positioned from the left and some from the right when you resize the browser they shuffle underneath each other. This is an effect used on the UX London site.\n\nThis demo uses a darker colour shadow with more transparency than before. The grey shadow in the previous example worked fine, but it was against a solid background. Since the images are now overlapping each other, the more opaque shadow looked fake.\n\n-webkit-box-shadow: 2px 2px 4px rgba(0,0, 0, 0.3);\n-moz-box-shadow: 2px 2px 4px rgba(0,0, 0, 0.3);\nbox-shadow: 2px 2px 4px rgba(0,0, 0, 0.3);\n\nOn hover, as well as our previous trick of animating the image rotation back to straight, we are also making the shadow darker and setting the z-index to be higher than the other images so that it appears on top.\n\nAnd Finally\u2026\n\nFinally, for a bit more fun, we\u2019re going to simulate the images coming towards you and lifting off the page. We\u2019ll achieve this by making them grow larger and by offsetting the shadow & making it longer.\n\n\n\n\nScreenshot 1 shows the default state, while 2 shows our previous hover effect. Screenshot 3 is the effect we are aiming for, illustrated by demo 4.\n\na.polaroid {\n\t/* ... */\n\tz-index: 2;\n\t-webkit-box-shadow: 2px 2px 4px rgba(0,0, 0, 0.3);\n\t-moz-box-shadow: 2px 2px 4px rgba(0,0, 0, 0.3);\n\tbox-shadow: 2px 2px 4px rgba(0,0, 0, 0.3);\n\t-webkit-transform: rotate(10deg);\n\t-moz-transform: rotate(10deg);\n\ttransform: rotate(10deg);\n\t-webkit-transition: all 0.5s ease-in;\n}\na.polaroid:hover,\na.polaroid:focus,\na.polaroid:active {\n\tz-index: 999;\n\tborder-color: #6A6A6A;\n\t-webkit-box-shadow: 15px 15px 20px rgba(0,0, 0, 0.4);\n\t-moz-box-shadow: 15px 15px 20px rgba(0,0, 0, 0.4);\n\tbox-shadow: 15px 15px 20px rgba(0,0, 0, 0.4);\n\t-webkit-transform: rotate(0deg) scale(1.05);\n\t-moz-transform: rotate(0deg) scale(1.05);\n\ttransform: rotate(0deg) scale(1.05);\n}\n\nYou\u2019ll notice we are now giving the transform property another transform function: scale, which takes increases the size by the specified factor. Other things you can do with transform include skewing, translating or you can go mad creating your own transforms with a matrix.\n\nThe box-shadow has both its offset and blur radius increased dramatically, and is darkened using the alpha channel of the rgba colour.\n\nAnd because we want the effects to all animate smoothly, we pass a value of all to the -webkit-transition property, ensuring that any changed property on that link will be animated.\n\nDemo 5 is the finished example, bringing everything nicely together.\n\nCSS transitions and transforms are a great example of progressive enrichment, which means improving the experience for a portion of the audience without negatively affecting other users. They are also a lot of fun to play with!\n\nFurther reading\n\n\n\t-moz-transform \u2013 the mozilla developer center has a comprehensive explanation of transform that also applies to -webkit-transform and transform.\n\tCSS: Animation Using CSS Transforms \u2013 this is a good, more indepth tutorial on animations.\n\tCSS Animation \u2013 the Safari blog explains the usage of -webkit-transform.\n\tDinky pocketbooks with transform \u2013 another use for transforms, create your own printable pocketbook.\n\tA while back, Simon wrote a little bookmarklet to spin the entire page\u2026 warning: this will spin the entire page.", "year": "2009", "author": "Natalie Downe", "author_slug": "nataliedowne", "published": "2009-12-14T00:00:00+00:00", "url": "https://24ways.org/2009/going-nuts-with-css-transitions/", "topic": "code"}
{"rowid": 179, "title": "Have a Field Day with HTML5 Forms", "contents": "Forms are usually seen as that obnoxious thing we have to markup and style. I respectfully disagree: forms (on a par with tables) are the most exciting thing we have to work with.\n\nHere we\u2019re going to take a look at how to style a beautiful HTML5 form using some advanced CSS and latest CSS3 techniques. I promise you will want to style your own forms after you\u2019ve read this article.\n\nHere\u2019s what we\u2019ll be creating:\n\n The form. (Icons from Chalkwork Payments)\n\nMeaningful markup\n\nWe\u2019re going to style a simple payment form. There are three main sections on this form:\n\n\n\tThe person\u2019s details\n\tThe address details\n\tThe credit card details\n\n\nWe are also going to use some of HTML5\u2019s new input types and attributes to create more meaningful fields and use less unnecessary classes and ids:\n\n\n\temail, for the email field\n\ttel, for the telephone field\n\tnumber, for the credit card number and security code\n\trequired, for required fields\n\tplaceholder, for the hints within some of the fields\n\tautofocus, to put focus on the first input field when the page loads\n\n\nThere are a million more new input types and form attributes on HTML5, and you should definitely take a look at what\u2019s new on the W3C website. Hopefully this will give you a good idea of how much more fun form markup can be.\n\nA good foundation\n\nEach section of the form will be contained within its own fieldset. In the case of the radio buttons for choosing the card type, we will enclose those options in another nested fieldset.\n\nWe will also be using an ordered list to group each label / input pair. This will provide us with a (kind of) semantic styling hook and it will also make the form easier to read when viewing with no CSS applied:\n\n The unstyled form\n\nSo here\u2019s the markup we are going to be working with:\n\n<form id=payment>\n\t<fieldset>\n\t\t<legend>Your details</legend>\n\t\t<ol>\n\t\t\t<li>\n\t\t\t\t<label for=name>Name</label>\n\t\t\t\t<input id=name name=name type=text placeholder=\"First and last name\" required autofocus>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=email>Email</label>\n\t\t\t\t<input id=email name=email type=email placeholder=\"example@domain.com\" required>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=phone>Phone</label>\n\t\t\t\t<input id=phone name=phone type=tel placeholder=\"Eg. +447500000000\" required>\n\t\t\t</li>\n\t\t</ol>\n\t</fieldset>\n\t<fieldset>\n\t\t<legend>Delivery address</legend>\n\t\t<ol>\n\t\t\t<li>\n\t\t\t\t<label for=address>Address</label>\n\t\t\t\t<textarea id=address name=address rows=5 required></textarea>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=postcode>Post code</label>\n\t\t\t\t<input id=postcode name=postcode type=text required>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=country>Country</label>\n\t\t\t\t<input id=country name=country type=text required>\n\t\t\t</li>\n\t\t</ol>\n\t</fieldset>\n\t<fieldset>\n\t\t<legend>Card details</legend>\n\t\t<ol>\t\t\n\t\t\t<li>\n\t\t\t\t<fieldset>\n\t\t\t\t\t<legend>Card type</legend>\n\t\t\t\t\t<ol>\n\t\t\t\t\t\t<li>\n\t\t\t\t\t\t\t<input id=visa name=cardtype type=radio>\n\t\t\t\t\t\t\t<label for=visa>VISA</label>\n\t\t\t\t\t\t</li>\n\t\t\t\t\t\t<li>\n\t\t\t\t\t\t\t<input id=amex name=cardtype type=radio>\n\t\t\t\t\t\t\t<label for=amex>AmEx</label>\n\t\t\t\t\t\t</li>\n\t\t\t\t\t\t<li>\n\t\t\t\t\t\t\t<input id=mastercard name=cardtype type=radio>\n\t\t\t\t\t\t\t<label for=mastercard>Mastercard</label>\n\t\t\t\t\t\t</li>\n\t\t\t\t\t</ol>\n\t\t\t\t</fieldset>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=cardnumber>Card number</label>\n\t\t\t\t<input id=cardnumber name=cardnumber type=number required>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=secure>Security code</label>\n\t\t\t\t<input id=secure name=secure type=number required>\n\t\t\t</li>\n\t\t\t<li>\n\t\t\t\t<label for=namecard>Name on card</label>\n\t\t\t\t<input id=namecard name=namecard type=text placeholder=\"Exact name as on the card\" required>\n\t\t\t</li>\n\t\t</ol>\n\t</fieldset>\n\t<fieldset>\n\t\t<button type=submit>Buy it!</button>\n\t</fieldset>\n</form>\n\nMaking things look nice\n\nFirst things first, so let\u2019s start by adding some defaults to our form by resetting the margins and paddings of the elements and adding a default font to the page:\n\nhtml, body, h1, form, fieldset, legend, ol, li {\n\tmargin: 0;\n\tpadding: 0;\n}\nbody {\n\tbackground: #ffffff;\n\tcolor: #111111;\n\tfont-family: Georgia, \"Times New Roman\", Times, serif;\n\tpadding: 20px;\n}\n\nNext we are going to style the form element that is wrapping our fields:\n\nform#payment {\n\tbackground: #9cbc2c;\n\t-moz-border-radius: 5px;\n\t-webkit-border-radius: 5px;\n\tborder-radius: 5px;\n\tpadding: 20px;\n\twidth: 400px;\n}\n\nWe will also remove the border from the fieldset and apply some bottom margin to it. Using the :last-of-type pseudo-class, we remove the bottom margin of the last fieldset \u2014 there is no need for it:\n\nform#payment fieldset {\n\tborder: none;\n\tmargin-bottom: 10px;\n}\nform#payment fieldset:last-of-type {\n\tmargin-bottom: 0;\n}\n\nNext we\u2019ll make the legends big and bold, and we will also apply a light-green text-shadow, to add that little extra special detail:\n\nform#payment legend {\n\tcolor: #384313;\n\tfont-size: 16px;\n\tfont-weight: bold;\n\tpadding-bottom: 10px;\n\ttext-shadow: 0 1px 1px #c0d576;\n}\n\nOur legends are looking great, but how about adding a clear indication of how many steps our form has? Instead of adding that manually to every legend, we can use automatically generated counters.\n\nTo add a counter to an element, we have to use either the :before or :after pseudo-elements to add content via CSS. We will follow these steps:\n\n\n\tcreate a counter using the counter-reset property on the form element\n\tcall the counter with the content property (using the same name we\u2019ve created before)\n\twith the counter-incremet property, indicate that for each element that matches our selector, that counter will be increased by 1\n\n\nform#payment > fieldset > legend:before {\n\tcontent: \"Step \" counter(fieldsets) \": \";\n\tcounter-increment: fieldsets;\n}\n\nFinally, we need to change the style of the legend that is part of the radio buttons group, to make it look like a label:\n\nform#payment fieldset fieldset legend {\n\tcolor: #111111;\n\tfont-size: 13px;\n\tfont-weight: normal;\n\tpadding-bottom: 0;\n}\n\nStyling the lists\n\nFor our list elements, we\u2019ll just add some nice rounded corners and semi-transparent border and background. Because we are using RGBa colors, we should provide a fallback for browsers that don\u2019t support them (that comes before the RBGa color). For the nested lists, we will remove these properties because they would be overlapping:\n\nform#payment ol li {\n\tbackground: #b9cf6a;\n\tbackground: rgba(255,255,255,.3);\n\tborder-color: #e3ebc3;\n\tborder-color: rgba(255,255,255,.6);\n\tborder-style: solid;\n\tborder-width: 2px;\n\t-moz-border-radius: 5px;\n\t-webkit-border-radius: 5px;\n\tborder-radius: 5px;\n\tline-height: 30px;\n\tlist-style: none;\n\tpadding: 5px 10px;\n\tmargin-bottom: 2px;\n}\nform#payment ol ol li {\n\tbackground: none;\n\tborder: none;\n\tfloat: left;\n}\n\nForm controls\n\nNow we only need to style our labels, inputs and the button element.\n\nAll our labels will look the same, with the exception of the one for the radio elements. We will float them to the left and give them a width.\n\nFor the credit card type labels, we will add an icon as the background, and override some of the properties that aren\u2019t necessary. We will be using the attribute selector to specify the background image for each label \u2014 in this case, we use the for attribute of each label.\n\nTo add an extra user-friendly detail, we\u2019ll add a cursor: pointer to the radio button labels on the :hover state, so the user knows that he can simply click them to select that option.\n\nform#payment label {\n\tfloat: left;\n\tfont-size: 13px;\n\twidth: 110px;\n}\nform#payment fieldset fieldset label {\n\tbackground:none no-repeat left 50%;\n\tline-height: 20px;\n\tpadding: 0 0 0 30px;\n\twidth: auto;\n}\nform#payment label[for=visa] {\n\tbackground-image: url(visa.gif);\n}\nform#payment label[for=amex] {\n\tbackground-image: url(amex.gif);\n}\nform#payment label[for=mastercard] {\n\tbackground-image: url(mastercard.gif);\n}\nform#payment fieldset fieldset label:hover {\n\tcursor: pointer;\n}\n\nAlmost there! Now onto the input elements. Here we want to match all inputs, except for the radio ones, and the textarea. For that we will use the negation pseudo-class (:not()). With it we can target all input elements except for the ones with type of radio.\n\nWe will also make sure to add some :focus styles and add the appropriate styling for the radio inputs:\n\nform#payment input:not([type=radio]),\nform#payment textarea {\n\tbackground: #ffffff;\n\tborder: none;\n\t-moz-border-radius: 3px;\n\t-webkit-border-radius: 3px;\n\t-khtml-border-radius: 3px;\n\tborder-radius: 3px;\n\tfont: italic 13px Georgia, \"Times New Roman\", Times, serif;\n\toutline: none;\n\tpadding: 5px;\n\twidth: 200px;\n}\nform#payment input:not([type=submit]):focus,\nform#payment textarea:focus {\n\tbackground: #eaeaea;\n}\nform#payment input[type=radio] {\n\tfloat: left;\n\tmargin-right: 5px;\n}\n\nAnd finally we come to our submit button. To it, we will just add some nice typography and text-shadow, align it to the center of the form and give it some background colors for its different states:\n\nform#payment button {\n\tbackground: #384313;\n\tborder: none;\n\t-moz-border-radius: 20px;\n\t-webkit-border-radius: 20px;\n\t-khtml-border-radius: 20px;\n\tborder-radius: 20px;\n\tcolor: #ffffff;\n\tdisplay: block;\n\tfont: 18px Georgia, \"Times New Roman\", Times, serif;\n\tletter-spacing: 1px;\n\tmargin: auto;\n\tpadding: 7px 25px;\n\ttext-shadow: 0 1px 1px #000000;\n\ttext-transform: uppercase;\n}\nform#payment button:hover {\n\tbackground: #1e2506;\n\tcursor: pointer;\n}\n\nAnd that\u2019s it! See the completed form.\n\nThis form will not look the same on every browser. Internet Explorer and Opera don\u2019t support border-radius (at least not for now); the new input types are rendered as just normal inputs on some browsers; and some of the most advanced CSS, like the counter, :last-of-type or text-shadow are not supported on some browsers. But that doesn\u2019t mean you can\u2019t use them right now, and simplify your development process. My gift to you!", "year": "2009", "author": "Inayaili de Le\u00f3n Persson", "author_slug": "inayailideleon", "published": "2009-12-03T00:00:00+00:00", "url": "https://24ways.org/2009/have-a-field-day-with-html5-forms/", "topic": "code"}
{"rowid": 177, "title": "HTML5: Tool of Satan, or Yule of Santa?", "contents": "It would lead to unseasonal arguments to discuss the title of this piece here, and the arguments are as indigestible as the fourth turkey curry of the season, so we\u2019ll restrict our article to the practical rather than the philosophical: what HTML5 can you reasonably expect to be able to use reliably cross-browser in the early months of 2010?\n\nThe answer is that you can use more than you might think, due to the seasonal tinsel of feature-detection and using the sparkly pixie-dust of IE-only VML (but used in a way that won\u2019t damage your Elf).\n\nCanvas\n\ncanvas is a 2D drawing API that defines a blank area of the screen of arbitrary size, and allows you to draw on it using JavaScript. The pictures can be animated, such as in this canvas mashup of Wolfenstein 3D and Flickr. (The difference between canvas and SVG is that SVG uses vector graphics, so is infinitely scalable. It also keeps a DOM, whereas canvas is just pixels so you have to do all your own book-keeping yourself in JavaScript if you want to know where aliens are on screen, or do collision detection.)\n\nPreviously, you needed to do this using Adobe Flash or Java applets, requiring plugins and potentially compromising keyboard accessibility. Canvas drawing is supported now in Opera, Safari, Chrome and Firefox. The reindeer in the corner is, of course, Internet Explorer, which currently has zero support for canvas (or SVG, come to that).\n\nNow, don\u2019t pull a face like all you\u2019ve found in your Yuletide stocking is a mouldy satsuma and a couple of nuts\u2014that\u2019s not the end of the story. Canvas was originally an Apple proprietary technology, and Internet Explorer had a similar one called Vector Markup Language which was submitted to the W3C for standardisation in 1998 but which, unlike canvas, was not blessed with retrospective standardisation.\n\nWhat you need, then, is some way for Internet Explorer to translate canvas to VML on-the-fly, while leaving the other, more standards-compliant browsers to use the HTML5. And such a way exists\u2014it\u2019s a JavaScript library called excanvas. It\u2019s downloadable from http://code.google.com/p/explorercanvas/ and it\u2019s simple to include it via a conditional comment in the head for IE:\n\n<!--[if IE]>\n<script src=\"excanvas.js\"></script>\n<![endif]-->\n\nSimply include this, and your canvas will be natively supported in the modern browsers (and the library won\u2019t even be downloaded) whereas IE will suddenly render your canvas using its own VML engine. Be sure, however, to check it carefully, as the IE JavaScript engine isn\u2019t so fast and you\u2019ll need to be sure that performance isn\u2019t too degraded to use.\n\nForms\n\nSince the beginning of the Web, developers have been coding forms, and then writing JavaScript to check whether an input is a correctly formed email address, URL, credit card number or conforms to some other pattern. The cumulative labour of the world\u2019s developers over the last 15 years makes whizzing round in a sleigh and delivering presents seem like popping to the corner shop in comparison.\n\nWith HTML5, that\u2019s all about to change. As Yaili began to explore on Day 3, a host of new attributes to the input element provide built-in validation for email address formats (input type=email), URLs (input type=url), any pattern that can be expressed with a JavaScript-syntax regex (pattern=\"[0-9][A-Z]{3}\") and the like. New attributes such as required, autofocus, input type=number min=3 max=50 remove much of the tedious JavaScript from form validation.\n\nOther, really exciting input types are available (see all input types). The datalist is reminiscent of a select box, but allows the user to enter their own text if they don\u2019t want to choose one of the pre-defined options. input type=range is rendered as a slider, while input type=date pops up a date picker, all natively in the browser with no JavaScript required at all.\n\nCurrently, support is most complete in an experimental implementation in Opera and a number of the new attributes in Webkit-based browsers. But don\u2019t let that stop you! The clever thing about the specification of the new Web Forms is that all the new input types are attributes (rather than elements). input defaults to input type=text, so if a browser doesn\u2019t understand a new HTML5 type, it gracefully degrades to a plain text input.\n\nSo where does that leave validation in those browsers that don\u2019t support Web Forms? The answer is that you don\u2019t retire your pre-existing JavaScript validation just yet, but you leave it as a fallback after doing some feature detection. To detect whether (say) input type=email is supported, you make a new input type=email with JavaScript but don\u2019t add it to the page. Then, you interrogate your new element to find out what its type attribute is. If it\u2019s reported back as \u201cemail\u201d, then the browser supports the new feature, so let it do its work and don\u2019t bring in any JavaScript validation. If it\u2019s reported back as \u201ctext\u201d, it\u2019s fallen back to the default, indicating that it\u2019s not supported, so your code should branch to your old validation routines. Alternatively, use the small (7K) Modernizr library which will do this work for you and give you JavaScript booleans like Modernizr.inputtypes[email] set to true or false.\n\nSo what does this buy you? Well, first and foremost, you\u2019re future-proofing your code for that time when all browsers support these hugely useful additions to forms. Secondly, you buy a usability and accessibility win. Although it\u2019s tempting to style the stuffing out of your form fields (which can, incidentally, lead to madness), whatever your branding people say, it\u2019s better to leave forms as close to the browser defaults as possible. A browser\u2019s slider and date pickers will be the same across different sites, making it much more comprehensible to users. And, by using native controls rather than faking sliders and date pickers with JavaScript, your forms are much more likely to be accessible to users of assistive technology.\n\nHTML5 DOCTYPE\n\nYou can use the new DOCTYPE !doctype html now and \u2013 hey presto \u2013 you\u2019re writing HTML5, as it\u2019s pretty much a superset of HTML4. There are some useful advantages to doing this. The first is that the HTML5 validator (I use http://html5.validator.nu) also validates ARIA information, whereas the HTML4 validator doesn\u2019t, as ARIA is a new spec developed after HTML4. (Actually, it\u2019s more accurate to say that it doesn\u2019t validate your ARIA attributes, but it doesn\u2019t automatically report them as an error.)\n\nAnother advantage is that HTML5 allows tabindex as a global attribute (that is, on any element). Although originally designed as an accessibility bolt-on, I ordinarily advise you don\u2019t use it; a well-structured page should provide a logical tab order through links and form fields already.\n\nHowever, tabindex=\"-1\" is a legal value in HTML5 as it allows for the element to be programmatically focussable by JavaScript. It\u2019s also very useful for correcting a bug in Internet Explorer when used with a keyboard; in-page links go nowhere if the destination doesn\u2019t have a proprietary property called hasLayout set or a tabindex of -1.\n\nSo, whether it is the tool of Satan or yule of Santa, HTML5 is just around the corner. Some you can use now, and by the end of 2010 I predict you\u2019ll be able to use a whole lot more as new browser versions are released.", "year": "2009", "author": "Bruce Lawson", "author_slug": "brucelawson", "published": "2009-12-05T00:00:00+00:00", "url": "https://24ways.org/2009/html5-tool-of-satan-or-yule-of-santa/", "topic": "code"}
{"rowid": 189, "title": "Ignorance Is Bliss", "contents": "This is a true story.\n\nMeet Mike \n\nMike\u2019s a smart guy. He knows a great browser when he sees one. He uses Firefox on his Windows PC at work and Safari on his Mac at home. Mike asked us to design a Web site for his business. So we did.\n\nWe wanted to make the best Web site for Mike that we could, so we used all of the CSS tools that are available today. That meant using RGBa colour to layer elements, border-radius to add subtle rounded corners and (possibly most experimental of all new CSS), generated gradients.\n\n The home page Mike sees in Safari on his Mac\n\nMike loves what he sees.\n\nMeet Sam\n\nSam works with Mike. She uses Internet Explorer 7 because it came on the Windows laptop that the company bought her when she joined. \n\n The home page Sam sees in Internet Explorer 7 on her PC\n\nSam loves the new Web site too.\n\nHow could both of them be happy when they experienced the Web site differently?\n\nThe new WYSIWYG\n\nWhen I first presented my designs to Mike and Sam, I showed them a Web page made with HTML and CSS in their respective browsers and not a picture of a Web page. By showing neither a static image of my design, I set none of the false expectations that, by definition, a static Photoshop or Fireworks visual would have established.\n\nMike saw rounded corners and subtle shadows in Firefox and Safari. Sam saw something equally as nice, just a little different, in Internet Explorer. Both were very happy because they saw something that they liked.\n\nNeither knew, or needed to know, about the subtle differences between browsers. Their users don\u2019t need to know either.\n\nThat\u2019s because in the real world, people using the Web don\u2019t find a Web site that they like, then open up another browser to check that it looks they same. They simply buy what they came to buy, read what what they came to read, do what they came to do, then get on with their lives in blissful ignorance of what they might be seeing in another browser.\n\nOften when I talk or write about using progressive CSS, people ask me, \u201cHow do you convince clients to let you work that way? What\u2019s your secret?\u201d Secret? I tell them what they need to know, on a need-to-know basis.\n\nEpilogue\n\nSam has a new iPhone that Mike bought for her as a reward for achieving her sales targets. She loves her iPhone and was surprised at just how fast and good-looking the company Web site appears on that. So she asked,\n\n\n\t\u201cAndy, I didn\u2019t know you optimised our site for mobile. I don\u2019t remember seeing an invoice for that.\u201d\n\n\nI smiled.\n\n\n\t\u201cThat one was on the house.\u201d", "year": "2009", "author": "Andy Clarke", "author_slug": "andyclarke", "published": "2009-12-23T00:00:00+00:00", "url": "https://24ways.org/2009/ignorance-is-bliss/", "topic": "business"}
{"rowid": 169, "title": "Incite A Riot", "contents": "Given its relatively limited scope, HTML can be remarkably expressive. With a bit of lateral thinking, we can mark up content such as tag clouds and progress meters, even when we don\u2019t have explicit HTML elements for those patterns.\n\nSuppose we want to mark up a short conversation:\n\n \n  Alice: I think Eve is watching. \n\n  Bob: This isn\u2019t a cryptography tutorial \u2026we\u2019re in the wrong example!\n \n\n\nA note in the the HTML 4.01 spec says it\u2019s okay to use a definition list:\n\n\n\tAnother application of DL, for example, is for marking up dialogues, with each DT naming a speaker, and each DD containing his or her words.\n\n\nThat would give us:\n\n<dl>\n\t<dt>Alice</dt>: <dd>I think Eve is watching.</dd>\n\t<dt>Bob</dt>: <dd>This isn't a cryptography tutorial ...we're in the wrong example!</dd>\n</dl>\n\nThis usage of a definition list is proof that writing W3C specifications and smoking crack are not mutually exclusive activities. \u201cI think Eve is watching\u201d is not a definition of \u201cAlice.\u201d If you (ab)use a definition list in this way, Norm will hunt you down.\n\nThe conversation problem was revisited in HTML5. What if dt and dd didn\u2019t always mean \u201cdefinition title\u201d and \u201cdefinition description\u201d? A new element was forged: dialog. Now the the \u201cd\u201d in dt and dd doesn\u2019t stand for \u201cdefinition\u201d, it stands for \u201cdialog\u201d (or \u201cdialogue\u201d if you can spell):\n\n<dialog>\n\t<dt>Alice</dt>: <dd>I think Eve is watching.</dd>\n\t<dt>Bob</dt>: <dd>This isn't a cryptography tutorial ...we're in the wrong example!</dd>\n</dialog>\n\nProblem solved \u2026except that dialog is no longer in the HTML5 spec. Hixie further expanded the meaning of dt and dd so that they could be used inside details (which makes sense\u2014it starts with a \u201cd\u201d) and figure (\u2026um). At the same time as the content model of details and figure were being updated, the completely-unrelated dialog element was dropped.\n\nBack to the drawing board, or in this case, the HTML 4.01 specification. The spec defines the cite element thusly:\n\n\n\tContains a citation or a reference to other sources.\n\n\nPerfect! There\u2019s even an example showing how this can applied when attributing quotes to people:\n\nAs <CITE>Harry S. Truman</CITE> said,\n<Q lang=\"en-us\">The buck stops here.</Q>\n\nFor longer quotes, the blockquote element might be more appropriate. In a conversation, where the order matters, I think an ordered list would make a good containing element for this pattern:\n\n<ol>\n\t<li><cite>Alice</cite>: <q>I think Eve is watching.</q></li>\n\t<li><cite>Bob</cite>: <q>This isn't a cryptography tutorial ...we're in the wrong example!</q></li>\n</ol>\n\nProblem solved \u2026except that the cite element has been redefined in the HTML5 spec:\n\n\n\tThe cite element represents the title of a work \u2026 A person\u2019s name is not the title of a work \u2026 and the element must therefore not be used to mark up people\u2019s names.\n\n\nHTML5 is supposed to be backwards compatible with previous versions of HTML, yet here we have a semantic pattern already defined in HTML 4.01 that is now non-conforming in HTML5. The entire justification for the change boils down to this line of reasoning:\n\n\n\tGiven that: titles of works are often italicised and\n\tgiven that: people\u2019s names are not often italicised and\n\tgiven that: most browsers italicise the contents of the cite element,\n\ttherefore: the cite element should not be used to mark up people\u2019s names.\n\n\nIn other words, the default browser styling is now dictating semantic meaning. The tail is wagging the dog.\n\nNot to worry, the HTML5 spec tells us how we can mark up names in conversations without using the cite element:\n\n\n\tIn some cases, the b element might be appropriate for names\n\n\nI believe the colloquial response to this is a combination of the letters W, T and F, followed by a question mark.\n\nThe non-normative note continues:\n\n\n\tIn other cases, if an element is really needed, the span element can be used.\n\n\nThis is not a joke. We are seriously being told to use semantically meaningless elements to mark up content that is semantically meaningful.\n\nWe don\u2019t have to take it.\n\nFirstly, any conformance checker\u2014that\u2019s the new politically correct term for \u201cvalidator\u201d\u2014cannot possibly check every instance of the cite element to see if it\u2019s really the title of a work and not the name of a person. So we can disobey the specification without fear of invalidating our documents.\n\nSecondly, Hixie has repeatedly stated that browser makers have a powerful voice in deciding what goes into the HTML5 spec; if a browser maker refuses to implement a feature, then that feature should come out of the spec because otherwise, the spec is fiction. Well, one of the design principles of HTML5 is the Priority of Constituencies:\n\n\n\tIn case of conflict, consider users over authors over implementors over specifiers over theoretical purity.\n\n\nThat places us\u2014authors\u2014above browser makers. If we resolutely refuse to implement part of the HTML5 spec, then the spec becomes fiction.\n\nJoin me in a campaign of civil disobedience against the unnecessarily restrictive, backwards-incompatible change to the cite element. Start using HTML5 but start using it sensibly. Let\u2019s ensure that bad advice remains fictitious.\n\nTantek has set up a page on the WHATWG wiki to document usage of the cite element for conversations. Please contribute to it.", "year": "2009", "author": "Jeremy Keith", "author_slug": "jeremykeith", "published": "2009-12-11T00:00:00+00:00", "url": "https://24ways.org/2009/incite-a-riot/", "topic": "code"}
{"rowid": 178, "title": "Make Out Like a Bandit", "contents": "If you are anything like me, you are a professional juggler. No, we don\u2019t juggle bowling pins or anything like that (or do you? Hey, that\u2019s pretty rad!). I\u2019m talking about the work that we juggle daily. In my case, I\u2019m a full-time designer, a half-time graduate student, a sometimes author and conference speaker, and an all-the-time social networker. Only two of these \u201cpositions\u201d have actually put any money in my pocket (and, well, the second one takes a lot of money out). Still, this is all part of the work that I do. Your work situation is probably similar. We are workaholics.\n\nSo if we work so much in our daily lives, shouldn\u2019t we be making out like bandits? Umm, honestly, I\u2019m not hitting on you, silly. I\u2019m talking about our success. We work and work and work. Shouldn\u2019t we be filthy, stinking rich? Well\u2026 okay, that\u2019s not quite what I mean either. I\u2019m not necessarily talking about money (though that could potentially be a part of it). I\u2019m talking about success \u2014 as in feeling a true sense of accomplishment and feeling happy about what we do and why we do it.\n\nIt\u2019s important to feel accomplished and a general happiness in our work. To make out like a bandit (or have an incredible amount of success), you can either get lucky or work hard for it. And if you\u2019re going to work hard for it, you might as well make it all meaningful and worthwhile. This is what I strive for in my own work and my life, and the following points I\u2019m sharing with you are the steps I am taking to work toward this.\n\n\n\tI know the price of success: dedication, hard work & an unremitting devotion to the things you want to see happen. \u2014 Frank Lloyd Wright\n\n\nLearn. Participate. Do.\n\nThe best way to get good at something is to keep doing whatever it is you\u2019re doing that you want to be good at. For example, a sushi-enthusiast might take a sushi-making class because she wants to learn to make sushi for herself. It totally makes sense while the teacher demonstrates all the procedures, materials, and methods needed to make good, beautiful sushi. Later, the student goes home and tries to make sushi on her own, she gets totally confused and lost. Okay, I\u2019m not even going to hide it, I\u2019m talking about myself (this happened to me). As much as I love sushi, I couldn\u2019t even begin to make good sushi because I\u2019ve never really practiced.\n\nTake advantage of learning opportunities where possible. Whether you\u2019re learning CSS, Actionscript, or visual design, the best way to grasp how to do things is to participate, practice, do. Apply what you learn in your work. Participation is so vital to your success. If you have problems, let people know, and ask. But definitely practice on your own. And as clich\u00e9 as it may sound, believe in yourself because if you don\u2019t think you can do it, no one else will think you can either.\n\nMaintain momentum\n\nWith whatever it is you\u2019re doing, if you find yourself \u201con a roll\u201d, you should take advantage of that momentum and keep moving. Sure, you\u2019ll definitely want to take breaks here or there, but remember that momentum can be very difficult to obtain again once you\u2019ve lost it. Get it done!\n\nDeal with people\n\nWhether you love or hate people, the fact is, you gotta deal with them \u2014 even the difficult ones. If you\u2019re in a management position, then you know pretty well that most people don\u2019t like being told what to do (even if that\u2019s their job). Find ways to get people excited about what they\u2019re doing. Make people feel that they (and what they do) are needed \u2014 people respond better if they\u2019re valued, not commanded. Even if you\u2019re not in a management position, this still applies to the way you work with your coworkers, clients, vendors, etc.\n\nResolve any conflicts right away. Conflicts will inevitably happen. Move on to how you can improve the situation, and do it as quickly as possible. Don\u2019t spend too much time focusing on whose screw up it is \u2014 nobody feels good in this situation. Also, try to keep people informed on whatever it is you need or what it is you\u2019re doing. If you\u2019re waiting on something from someone, and it\u2019s been a while, don\u2019t be afraid to say something (tactfully). Sometimes people are forgetful \u2014 or just slacking. Hey, it happens!\n\nHelp yourself by helping others\n\nWhat are some of the small, simple things you can do when you\u2019re working that will help the people you work with (and in most cases, will end up helping yourself)? For example: if you\u2019re a designer, perhaps taking a couple minutes now to organize and name your Photoshop layers will end up saving time later (since it will be easier to find things). This is going to help both you and your team. Or, developers: taking some time to write some documentation (even if it\u2019s as simple as a comment in the code, or a well-written commit message) could potentially save valuable time for both you and your team later. Maybe you have to take a little time to sit down with a coworker and explain why something works the way it does. This helps them out tremendously \u2014 and will most likely lead to them respecting you a little more. This is a benefit.\n\nIf you make little things like this a habit, people will notice. People will enjoy working with you. People will trust you and rely on you. Sure, it might seem beneficial at any given moment to be \u201cin it for yourself\u201d (and therefore only helping yourself), but that won\u2019t last very long. Helping others (whether it be a small or large feat) will cause a positive impact in the long run \u2014 and that is what will be more valuable to you and your career.\n\nDo work that is meaningful\n\nOne of the best ways to feel successful about what you do is to feel good and happy about it. And a great way to feel good and happy about what you\u2019re doing is to actually do good. This could be purpose-driven work that focuses on sustainability and environmentalism, or work that helps support causes and charity. Perhaps the work simply inspires people. Or maybe the work is just something you are very passionate about. Whatever the work may be, try working on projects that are meaningful to you. You\u2019ll do well simply by being more motivated and interested. And it\u2019s a double-win if the project is meaningful to others as well.\n\nI feel very fortunate to work at a place like Crush + Lovely, where we have found quite frequently that the projects that inspire people, focus on global and social good, and create some sort of positive impact are the very projects that bring us more paid projects. But more importantly, we are happy and excited to do it. You might not work at a company that takes on those types of projects. But perhaps you have your own personal endeavors that create this excitement for you. Elliot Jay Stocks wrote about having pet projects. Do you take on side projects? What are those projects?\n\nOver the last couple years, I\u2019ve seen some really fantastic side projects come out that are great examples of meaningful work. These projects reflect the passions and goals of the respective designers and developers involved, and therefore become quite successful (because the people involved simply love what they are doing while they\u2019re doing it). Some of these projects include:\n\n\n\tTypedia is a shared encyclopedia of typefaces which serves as a resource to classify, categorize, and connect typefaces. It was founded by Jason Santa Maria, a graphic designer with a love and passion for typography. He created it as a solution to a problem he faced as a designer: finding the right typeface.\n\tHuffduffer was created by Jeremy Keith, a web developer who wanted to create a podcast of inspirational talks \u2014 but after he found that this could be tedious, he decided to create a tool to automate this.\n\tLevel & Tap was created by passionate photographer and web developer, Tom Watson. It began as a photography print store for Tom\u2019s best personal photography. Over time, more photographers were added to the site and the site has grown to become quite a great collection of beautiful photography.\n\tHeat Eat Review is a review blog created by information architect and user experience designer, Abi Jones. As a foodie, she is able to use this passion for this blog, as it focuses on reviewing TV Dinners, Frozen Meals, and Microwavable Foods.\n\tArt in My Coffee, a favorite personal project of my own, is a photo blog of coffee art I created, after I found that my friends and I were frequently posting coffee art photos to Flickr, Twitter, and other websites. After the blog became more popular, I teamed up with Meagan Fisher on the project, who has just as much a passion for coffee art, if not more.\n\n\nSo, what\u2019s important to you?\n\nThis is the very, very important question here. What really matters to you most? Beyond just working on meaningful projects you are passionate about, is the work you\u2019re doing the right work for you, so that you can live a good lifestyle? Scott Boms wrote an excellent article, Burnout, in which he shares his own experience in battling stress and exhaustion, and what he learned from it. You should definitely read the article in its entirety, but a couple of his points that are particularly excellent are:\n\n\n\tMake time for numero uno, in which you make time for the things in life that make you happy\n\tExamine your values, goals, and measures of success, in which you work toward the things you are passionate about, your own personal development, and focusing on the things that matter.\n\n\nA solid work-life balance can be a challenging struggle to obtain. Of course, you can cheat this by finding ways to combine the things you love with the things you do (so then it doesn\u2019t even feel like you\u2019re working \u2014 oh, you sneaky little bandit!). However, there are other factors to consider beyond your general love for the work you\u2019re doing. Take proper care of yourself physically, mentally, and socially.\n\nSo, are you making out like a bandit?\n\nDo you feel accomplished and generally happy with your work? If not, perhaps that is something to focus on for the next year. Consider your work (both in your job as well as any side projects you may take on) and how it benefits you \u2014 present and future. Take any steps necessary to get you to where you need to be. If you are miserable, fix it!\n\nFinally, it\u2019s important to be thankful for the things that matter to you and make you happy. Pass it along everyday. Thank people. It\u2019s a simple thing, really. Saying \u201cthank you\u201d can and will have enormous impact on the people around you. Oh. And, I apologize if the title of this article led you to thinking it would teach you how to be an amazing kisser. That\u2019s a different article entirely for 24 ways to impress your friends!", "year": "2009", "author": "Jina Anne", "author_slug": "jina", "published": "2009-12-21T00:00:00+00:00", "url": "https://24ways.org/2009/make-out-like-a-bandit/", "topic": "business"}
{"rowid": 185, "title": "Make Your Mockup in Markup", "contents": "We aren\u2019t designing copies of web pages, we\u2019re designing web pages.\n\n\t Andy Clarke, via Quotes on Design\n\n\nThe old way\n\nI used to think the best place to design a website was in an image editor. I\u2019d create a pixel-perfect PSD filled with generic content, send it off to the client, go through several rounds of revisions, and eventually create the markup.\n\nDoes this process sound familiar? You\u2019re not alone. In a very scientific and official survey I conducted, close to 90% of respondents said they design in Photoshop before the browser.  \n\nThat process is whack, yo!\n\nRecently, thanks in large part to the influence of design hero Dan Cederholm, I\u2019ve come to the conclusion that a website\u2019s design should begin where it\u2019s going to live: in the browser.\n\nDie Photoshop, die\n\nSome of you may be wondering, \u201cwhat\u2019s so bad about using Photoshop for the bulk of my design?\u201d Well, any seasoned designer will tell you that working in Photoshop is akin to working in a minefield: you never know when it\u2019s going to blow up in your face.\n\n The application Adobe Photoshop CS4 has unexpectedly ruined your day.\n\nPhotoshop\u2019s propensity to crash at crucial moments is a running joke in the industry, as is its barely usable interface. And don\u2019t even get me started on the hot, steaming pile of crap that is  text rendering.\n\n Text rendered in Photoshop (left) versus Safari (right).\n\nCrashing and text rendering issues suck, but we\u2019ve learned to live with them. The real issue with using Photoshop for mockups is the expectations you\u2019re setting for a client. When you send the client a static image of the design, you\u2019re not giving them the whole picture \u2014 they can\u2019t see how a fluid grid would function, how the design will look in a variety of browsers, basic interactions like :hover effects, or JavaScript behaviors. For more on the disadvantages to showing clients designs as images rather than websites, check out Andy Clarke\u2019s Time to stop showing clients static design visuals.\n\nA necessary evil?\n\nIn the past we\u2019ve put up with Photoshop because it was vital to achieving our beloved rounded corners, drop shadows, outer glows, and gradients. However, with the recent adaptation of CSS3 in major browsers, and the slow, joyous death of IE6, browsers can render mockups that are just as beautiful as those created in an image editor. With the power of RGBA, text-shadow, box-shadow, border-radius, transparent PNGs, and @font-face combined, you can create a prototype that radiates shiny awesomeness right in the browser. If you can see this epic article through to the end, I\u2019ll show you step by step how to create a gorgeous mockup using mostly markup.\n\nGet started by getting naked \n\n\n\tContent precedes design. Design in the absence of content is not design, it\u2019s decoration.\n\n\t Jeffrey Zeldman\n\n\nIn the beginning, don\u2019t even think about style. Instead, start with the foundation: the content. Lay the groundwork for your markup order, and ensure that your design will be useable with styles and images turned off. This is great for prioritizing the content, and puts you on the right path for accessibility and search engine optimization. Not a bad place to start, amirite?\n\n An example of unstyled content, in all its naked glory. View it large.\n\nFlush out the layout \n\nThe next step is to structure the content in a usable way. With CSS, making basic layout changes is as easy as switching up a float, so experiment to see what structure suits the content best.\n\n The mockup with basic layout work done.\n\nGot your grids covered\n\nThere are a variety of tools that allow you to layer a grid over your browser window. For Mac users I recommend using Slammer, and PC users can check out one of the bookmarklets that are available, such as 960 Gridder.\n\n The mockup with a grid applied using Slammer.\n\nOnce you\u2019ve found a layout that works well for the content, pass it along to the client for review. This keeps them involved in the design process, and gives them an idea of how the site will be structured when it\u2019s live.\n\nStart your styling\n\nNow for the fun part: begin applying the presentation layer. Let usability considerations drive your decisions about color and typography; use highlighted colors and contrasting typefaces on elements you wish to emphasize.\n\nRGBA? More like RGByay!\n\nIntroducing color is easy with RGBA. I like to start with the page\u2019s main color, then use white at varying opacities to empasize content sections.\n\n In the example mockup the body background is set to rgba(203,111,21), the content containers are set to rgba(255,255,255,0.7), and a few elements are highlighted with rgba(255,255,255,0.1) If you\u2019re not sure how RGBA works, check out Drew McLellan\u2019s super helpful 24ways article.\n\nLaying down type\n\nJust like with color, you can use typography to evoke a feeling and direct a user\u2019s attention. Have contrasting typefaces (like serif headlines and sans-serif body text) to group the content into meaningful sections.\n\nIn a recent A List Apart article, the Master of Web Typography\u2122 Jason Santa Maria offers excellent advice on how to choose your typefaces:\n\n\n\tWrite down a general description of the qualities of the message you are trying to convey, and then look for typefaces that embody those qualities.\n\n\nSounds pretty straightforward. I wanted to give my design a classic feel with a hint of nostalgia, so I used Georgia for the headlines, and incorporated the ornate ampersand from Baskerville into the header.\n\n A closeup on the site\u2019s header.\n\nLet\u2019s get sexy\n\nThe design doesn\u2019t look too bad as it is, but it\u2019s still pretty flat. We can do better, and after mixing in some CSS3 and a couple of PNGs, it\u2019s going to get downright steamy in here.\n\nGive it some glow\n\nObjects in the natural world reflect light, so to make your design feel tangible and organic, give it some glow. In the example design I achieved this by creating two white to transparent gradients of varying opacities. Both have a solid white border across their top, which gives edges a double border effect and makes them look sharper. Using CSS3\u2019s text-shadow on headlines and box-shadow on content modules is another quick way to add depth.\n\n A wide and closeup view of the design with gradients, text-shadow and box-shadow added. For information on how to implement text-shadow and box-shadow using RGBA, check out the article I wrote on it last week.\n\n\n37 pieces of flair\n\nOkay, maybe you don\u2019t need that much flair, but it couldn\u2019t hurt to add a little; it\u2019s the details that will set your design apart. Work in imagery and texture, using PNGs with an alpha channel so you can layer images and still tweak the color later on.\n\n The design with grungy textures, a noisy diagonal stripe pattern, and some old transportation images layered behind the text. Because the colors are rendered using RGBA, these images bleed through the content, giving the design a layered feel. Best viewed large.\n\n\nSend it off\n\nHey, look at that. You\u2019ve got a detailed, well structured mockup for the client to review. Best of all, your markup is complete too. If the client approves the design at this stage, your template is practically finished. Bust out the party hats!\n\nNot so fast, Buster!\n\nSo I don\u2019t know about you, but I\u2019ve never gotten a design past the client\u2019s keen eye for criticism on the first go. Let\u2019s review some hypothetical feedback (none of which is too outlandish, in my experience), and see how we\u2019d make the requested changes in the browser. \n\nUpdating the typography\n\n\n\tMy ex-girlfriend loved Georgia, so I never want to see it again. Can we get rid of it? I want to use a font that\u2019s chunky and loud, just like my stupid ex-girlfriend.\n\n\t Fakey McClient\n\n\nYikes! Thankfully with CSS, removing Georgia is as easy as running a find and replace on the stylesheet. In my revised mockup, I used @font-face and League Gothic on the headlines to give the typography the, um, unique feel the client is looking for.\n\n The same mockup, using @font-face on the headlines. If you\u2019re unfamiliar with implementing @font-face, check out Nice Web Type\u2018s helpful article.\n\nAdding rounded corners\n\n\n\tI\u2019m not sure if I\u2019ll like it, but I want to see what it\u2019d look like with rounded corners. My cousin, a Web 2.0 marketing guru, says they\u2019re trendy right now.\n\n\t Fakey McClient\n\n\nSwitching to rounded corners is a nightmare if you\u2019re doing your mockup in Photoshop, since it means recreating most of the shapes and UI elements in the design. Thankfully, with CSS border-radius comes to our rescue! By applying this gem of a style to a handful of classes, you\u2019ll be rounded out in no time.\n\n The mockup with rounded corners, created using border-radius. If you\u2019re not sure how to implement border-radius, check out CSS3.info\u2018s quick how-to.\n\nMaking changes to the color\n\n\n\tThe design is too dark, it\u2019s depressing! They call it \u2018the blues\u2019 for a reason, dummy. Can you try using a brighter color? I want orange, like Zeldman uses.\n\n\t Fakey McClient\n\n\nMaking color changes is another groan-inducing task when working in Photoshop. Finding and updating every background layer, every drop shadow, and every link can take forever in a complex PSD. However, if you\u2019ve done your mockup in markup with RGBA and semi-transparent PNGs, making changes to your color is as easy as updating the body background and a few font colors.\n\n The mockup with an orange color scheme. Best viewed large.\n\nAhem, what about Internet Explorer?\n\nGee, thanks for reminding me, buzzkill. Several of the CSS features I\u2019ve suggested you use, such as RGBA, text-shadow and box-shadow, and border-radius, are not supported in Internet Explorer. I know, it makes me sad too. However, this doesn\u2019t mean you can\u2019t try these techniques out in your markup based mockups.  The point here is to get your mockups done as efficiently as possible, and to keep the emphasis on markup from the very beginning.\n\nOnce the design is approved, you and the client have to decide if you can live with the design looking different in different browsers. Is it so bad if some users get to see drop shadows and some don\u2019t? Or if the rounded corners are missing for a portion of your audience? The design won\u2019t be broken for IE people, they\u2019re just missing out on a few visual treats that other users will see.\n\nThe idea of rewarding users who choose modern browsers is not a new concept; Dan covers it thoroughly in Handcrafted CSS, and it\u2019s been written about in the past by Aaron Gustafson and Andy Clarke on several occasions. I believe we shouldn\u2019t have to design for the lowest common denominator (cough, IE6 users, cough); instead we should create designs that are beautiful in modern browsers, but still degrade nicely for the other guy. However, some clients just aren\u2019t that progressive, and in that case you can always use background images for drop shadows and rounded corners, as you have in the past. \n\nClosing thoughts\n\nWith the advent of CSS3, browsers are just as capable of giving us beautiful, detailed mockups as Photoshop, and in half the time. I\u2019m not the only one to make an argument for this revised process; in his article Time to stop showing clients static design visuals, and in his presentation Walls Come Tumbling Down, Andy Clarke makes a fantastic case for creating your mockups in markup.\n\nSo I guess my challenge to you for 2010 is to get out of Photoshop and into the code. Even if the arguments for designing in the browser aren\u2019t enough to make you change your process permanently, it\u2019s worthwhile to give it a try. Look at the New Year as a time to experiment; applying constraints and evaluating old processes can do wonders for improving your efficiency and creativity.", "year": "2009", "author": "Meagan Fisher", "author_slug": "meaganfisher", "published": "2009-12-24T00:00:00+00:00", "url": "https://24ways.org/2009/make-your-mockup-in-markup/", "topic": "process"}
{"rowid": 173, "title": "Real Fonts and Rendering: The New Elephant in the Room", "contents": "My friend, the content strategist Kristina Halvorson, likes to call content \u201cthe elephant in the room\u201d of web design. She means it\u2019s the huge problem that no one on the web development team or client side is willing to acknowledge, face squarely, and plan for. \n\nA typical web project will pass through many helpful phases of research, and numerous beneficial user experience design iterations, while the content\u2014which in most cases is supposed to be the site\u2019s primary focus\u2014gets handled haphazardly at the end. Hence, elephant in the room, and hence also artist Kevin Cornell\u2019s recent use of elephantine imagery to illustrate A List Apart articles on the subject. But I digress.\n\nWithout discounting the primacy of the content problem, we web design folk have now birthed ourselves a second lumbering mammoth, thanks to our interest in \u201creal fonts on the web\u201c (the unfortunate name we\u2019ve chosen for the recent practice of serving web-licensed fonts via CSS\u2019s decade-old @font-face declaration\u2014as if Georgia, Verdana, and Times were somehow unreal). \n\nFor the fact is, even bulletproof and mo\u2019 bulletproofer @font-face CSS syntax aren\u2019t really bulletproof if we care about looks and legibility across browsers and platforms.\n\nHyenas in the Breakfast Nook\n\nThe problem isn\u2019t just that foundries have yet to agree on a standard font format that protects their intellectual property. And that, even when they do, it will be a while before all browsers support that standard\u2014leaving aside the inevitable politics that impede all standardization efforts. Those are problems, but they\u2019re not the elephant. Call them the coyotes in the room, and they\u2019re slowly  being tamed.\n\nNor is the problem that workable, scalable business models (of which Typekit\u2018s is the most visible and, so far, the most successful) are still being shaken out and tested. The quality and ease of use of such services, their stability on heavily visited sites (via massively backed-up server clusters), and the fairness and sustainability of their pricing will determine how licensing and serving \u201creal fonts\u201d works in the short and long term for the majority of designer/developers.\n\nNor is our primary problem that developers with no design background may serve ugly or illegible fonts that take forever to load, or fonts that take a long time to download and then display as ordinary system fonts (as happens on, say, about.validator.nu). Ugliness and poor optimization on the web are nothing new. That support for @font-face in Webkit and Mozilla browsers (and for TrueType fonts converted to Embedded OpenType in Internet Explorer) adds deadly weapons to the non-designer\u2019s toolkit is not the technology\u2019s fault. JavaScript and other essential web technologies are equally susceptible to abuse. \n\nBeauty is in the Eye of the Rendering Engine\n\nNo, the real elephant in the room\u2014the thing few web developers and no \u201cweb font\u201d enthusiasts are talking about\u2014has to do with legibility (or lack thereof) and aesthetics (or lack thereof) across browsers and platforms. Put simply, even fonts optimized for web use (which is a whole thing: ask a type designer) will not look good in every browser and OS. That\u2019s because every browser treats hinting differently, as does every OS, and every OS version. \n\nFirefox does its own thing in both Windows and Mac OS, and Microsoft is all over the place because of its need to support multiple generations of Windows and Cleartype and all kinds of hardware simultaneously. Thus \u201creal type\u201d on a single web page can look markedly different, and sometimes very bad, on different computers at the same company. If that web page is your company\u2019s, your opinion of \u201cweb fonts\u201d may suffer, and rightfully. (The advantage of Apple\u2019s closed model, which not everyone likes, is that it allows the company to guarantee the quality and consistency of user experience.)  \n\nAs near as my font designer friends and I can make out, Apple\u2019s Webkit in Safari and iPhone ignores hinting and creates its own, which Apple thinks is better, and which many web designers think of as \u201cwhat real type looks like.\u201d The forked version of Webkit in Chrome, Android, and Palm Pre also creates its own hinting, which is close to iPhone\u2019s\u2014close enough that Apple, Palm, and Google could propose it as a standard for use in all browsers and platforms. Whether Firefox would embrace a theoretical Apple and Google standard is open to conjecture, and I somehow have difficulty imagining Microsoft buying in\u2014even though they know the web is more and more mobile, and that means more and more of their customers are viewing web content in some version of Webkit.\n\nThe End of Simple\n\nThere are ways around this ugly type ugliness, but they involve complicated scripting and sniffing\u2014the very nightmares from which web standards and the simplicity of @font-face were supposed to save us. I don\u2019t know that even mighty Typekit has figured out every needed variation yet (although, working with foundries, they probably will). \n\nFor type foundries, the complexity and expense of rethinking classic typefaces to survive in these hostile environments may further delay widespread adoption of web fonts and the resolution of licensing and formatting issues. The complexity may also force designers (even those who prefer to own) to rely on a hosted rental model simply to outsource and stay current with the detection and programming required.\n\nForgive my tears. I stand in a potter\u2019s field of ideas like \u201cKeep it simple,\u201d by a grave whose headstone reads \u201cWrite once, publish everywhere.\u201d", "year": "2009", "author": "Jeffrey Zeldman", "author_slug": "jeffreyzeldman", "published": "2009-12-22T00:00:00+00:00", "url": "https://24ways.org/2009/real-fonts-and-rendering/", "topic": "design"}
{"rowid": 171, "title": "Rock Solid HTML Emails", "contents": "At some stage in your career, it\u2019s likely you\u2019ll be asked by a client to design a HTML email. Before you rush to explain that all the cool kids are using social media, keep in mind that when done correctly, email is still one of the best ways to promote you and your clients online. In fact, a recent survey showed that every dollar spent on email marketing this year generated more than $40 in return. That\u2019s more than any other marketing channel, including the cool ones.\n\nThere are a whole host of ingredients that contribute to a good email marketing campaign. Permission, relevance, timeliness and engaging content are all important. Even so, the biggest challenge for designers still remains building an email that renders well across all the popular email clients.\n\nSame same, but different\n\nBefore getting into the details, there are some uncomfortable facts that those new to HTML email should be aware of. Building an email is not like building for the web. While web browsers continue their onward march towards standards, many email clients have stubbornly stayed put. Some have even gone backwards. In 2007, Microsoft switched the Outlook rendering engine from Internet Explorer to Word. Yes, as in the word processor. Add to this the quirks of the major web-based email clients like Gmail and Hotmail, sprinkle in a little Lotus Notes and you\u2019ll soon realize how different the email game is.\n\nWhile it\u2019s not without its challenges, rest assured it can be done. In my experience the key is to focus on three things. First, you should keep it simple. The more complex your email design, the more likely is it to choke on one of the popular clients with poor standards support. Second, you need to take your coding skills back a good decade. That often means nesting tables, bringing CSS inline and following the coding guidelines I\u2019ll outline below. Finally, you need to test your designs regularly. Just because a template looks nice in Hotmail now, doesn\u2019t mean it will next week.\n\nSetting your lowest common denominator\n\nTo maintain your sanity, it\u2019s a good idea to decide exactly which email clients you plan on supporting when building a HTML email. While general research is helpful, the email clients your subscribers are using can vary significantly from list to list. If you have the time there are a number of tools that can tell you specifically which email clients your subscribers are using. Trust me, if the testing shows almost none of them are using a client like Lotus Notes, save yourself some frustration and ignore it altogether. \n\nKnowing which email clients you\u2019re targeting not only makes the building process easier, it can save you lots of time in the testing phase too. For the purpose of this article, I\u2019ll be sharing techniques that give the best results across all of the popular clients, including the notorious ones like Gmail, Lotus Notes 6 and Outlook 2007. Just remember that pixel perfection in all email clients is a pipe dream.\n\nLet\u2019s get started.\n\nUse tables for layout\n\nBecause clients like Gmail and Outlook 2007 have poor support for float, margin and padding, you\u2019ll need to use tables as the framework of your email. While nested tables are widely supported, consistent treatment of width, margin and padding within table cells is not. For the best results, keep the following in mind when coding your table structure.\n\nSet the width in each cell, not the table\n\nWhen you combine table widths, td widths, td padding and CSS padding into an email, the final result is different in almost every email client. The most reliable way to set the width of your table is to set a width for each cell, not for the table itself.\n\n<table cellspacing=\"0\" cellpadding=\"10\" border=\"0\">\n\t<tr>\n\t\t<td width=\"80\"></td>\n\t\t<td width=\"280\"></td>\n\t</tr>\n</table>\n\nNever assume that if you don\u2019t specify a cell width the email client will figure it out. It won\u2019t.  Also avoid using percentage based widths. Clients like Outlook 2007 don\u2019t respect them, especially for nested tables. Stick to pixels. If you want to add padding to each cell, use either the cellpadding attribute of the table or CSS padding for each cell, but never combine the two.\n\nErr toward nesting\n\nTable nesting is far more reliable than setting left and right margins or padding for table cells. If you can achieve the same effect by table nesting, that will always give you the best result across the buggier email clients.\n\nUse a container table for body background colors\n\nMany email clients ignore background colors specified in your CSS or the <body> tag. To work around this, wrap your entire email with a 100% width table and give that a background color.\n\n<table cellspacing=\"0\" cellpadding=\"0\" border=\"0\" width=\"100%\">\n\t<tr>\n\t\t<td bgcolor=\u201d#000000\u201d>\n\t\t\tYour email code goes here.\n\t\t</td>\n\t</tr>\n</table>\n\nYou can use the same approach for background images too. Just remember that some email clients don\u2019t support them, so always provide a fallback color.\n\nAvoid unnecessary whitespace in table cells\n\nWhere possible, avoid whitespace between your <td> tags. Some email clients (ahem, Yahoo! and Hotmail) can add additional padding above or below the cell contents in some scenarios, breaking your design for no apparent reason.\n\nCSS and general font formatting\n\nWhile some email designers do their best to avoid CSS altogether and rely on the dreaded <font> tag, the truth is many CSS properties are well supported by most email clients. See this comprehensive list of CSS support across the major clients for a good idea of the safe properties and those that should be avoided. \n\nAlways move your CSS inline\n\nGmail is the culprit for this one. By stripping the CSS from the <head> and <body> of any email, we\u2019re left with no choice but to move all CSS inline. The good news is this is something you can almost completely automate. Free services like Premailer will move all CSS inline with the click of a button. I recommend leaving this step to the end of your build process so you can utilize all the benefits of CSS.\n\nAvoid shorthand for fonts and hex notation\n\nA number of email clients reject CSS shorthand for the font property. For example, never set your font styles like this.\n\np {\n\tfont:bold 1em/1.2em georgia,times,serif;\n}\n\nInstead, declare the properties individually like this.\n\np {\n\tfont-weight: bold;\n\tfont-size: 1em;\n\tline-height: 1.2em;\n\tfont-family: georgia,times,serif;\n}\n\nWhile we\u2019re on the topic of fonts, I recently tested every conceivable variation of @font-face across the major email clients. The results were dismal, so unfortunately it\u2019s web-safe fonts in email for the foreseeable future.\n\nWhen declaring the color property in your CSS, some email clients don\u2019t support shorthand hexadecimal colors like color:#f60; instead of color:#ff6600;. Stick to the longhand approach for the best results.\n\nParagraphs\n\nJust like table cell spacing, paragraph spacing can be tricky to get a consistent result across the board. I\u2019ve seen many designers revert to using double <br /> or DIVs with inline CSS margins to work around these shortfalls, but recent testing showed that paragraph support is now reliable enough to use in most cases (there was a time when Yahoo! didn\u2019t support the paragraph tag at all).\n\nThe best approach is to set the margin inline via CSS for every paragraph in your email, like so:\n\np {\n\tmargin: 0 0 1.6em 0;\n}\n\nAgain, do this via CSS in the head when building your email, then use Premailer to bring it inline for each paragraph later.\n\nIf part of your design is height-sensitive and calls for pixel perfection, I recommend avoiding paragraphs altogether and setting the text formatting inline in the table cell. You might need to use table nesting or cellpadding / CSS to get the desired result. Here\u2019s an example:\n\n<td width=\"200\" style=\"font-weight:bold; font-size:1em; line-height:1.2em; font-family:georgia,'times',serif;\">your height sensitive text</td>\n\nLinks\n\nSome email clients will overwrite your link colors with their defaults, and you can avoid this by taking two steps. First, set a default color for each link inline like so:\n\n<a href=\"http://somesite.com/\" style=\"color:#ff00ff\">this is a link</a>\n\nNext, add a redundant span inside the a tag.\n\n<a href=\"http://somesite.com/\" style=\"color:#ff00ff\"><span style=\"color:#ff00ff\">this is a link</span></a>\n\nTo some this may be overkill, but if link color is important to your design then a superfluous span is the best way to achieve consistency.\n\nImages in HTML emails\n\nThe most important thing to remember about images in email is that they won\u2019t be visible by default for many subscribers. If you start your design with that assumption, it forces you to keep things simple and ensure no important content is suppressed by image blocking.\n\nWith this in mind, here are the essentials to remember when using images in HTML email:\n\nAvoid spacer images\n\nWhile the combination of spacer images and nested tables was popular on the web ten years ago, image blocking in many email clients has ruled it out as a reliable technique today. Most clients replace images with an empty placeholder in the same dimensions, others strip the image altogether. Given image blocking is on by default in most email clients, this can lead to a poor first impression for many of your subscribers. Stick to fixed cell widths to keep your formatting in place with or without images.\n\nAlways include the dimensions of your image\n\nIf you forget to set the dimensions for each image, a number of clients will invent their own sizes when images are blocked and break your layout. Also, ensure that any images are correctly sized before adding them to your email. Some email clients will ignore the dimensions specified in code and rely on the true dimensions of your image. \n\nAvoid PNGs\n\nLotus Notes 6 and 7 don\u2019t support 8-bit or 24-bit PNG images, so stick with the GIF or JPG formats for all images, even if it means some additional file size.\n\nProvide fallback colors for background images\n\nOutlook 2007 has no support for background images (aside from this hack to get full page background images working). If you want to use a background image in your design, always provide a background color the email client can fall back on. This solves both the image blocking and Outlook 2007 problem simultaneously.\n\nDon\u2019t forget alt text\n\nLack of standards support means email clients have long destroyed the chances of a semantic and accessible HTML email. Even still, providing alt text is important from an image blocking perspective. Even with images suppressed by default, many email clients will display the provided alt text instead. Just remember that some email clients like Outlook 2007, Hotmail and Apple Mail don\u2019t support alt text at all when images are blocked.\n\nUse the display hack for Hotmail\n\nFor some inexplicable reason, Windows Live Hotmail adds a few pixels of additional padding below images. A workaround is to set the display property like so.\n\nimg {display:block;}\n\nThis removes the padding in Hotmail and still gives you the predicable result in other email clients.\n\nDon\u2019t use floats\n\nBoth Outlook 2007 and earlier versions of Notes offer no support for the float property. Instead, use the align attribute of the img tag to float images in your email.\n\n<img src=\"image.jpg\" align=\"right\">\n\nIf you\u2019re seeing strange image behavior in Yahoo! Mail, adding align=\u201ctop\u201d to your images can often solve this problem.\n\nVideo in email\n\nWith no support for JavaScript or the object tag, video in email (if you can call it that) has long been limited to animated gifs. However, some recent research I did into the HTML5 video tag in email showed some promising results.\n\nTurns out HTML5 video does work in many email clients right now, including Apple Mail, Entourage 2008, MobileMe and the iPhone. The real benefit of this approach is that if the video isn\u2019t supported, you can provide reliable fallback content such as an animated GIF or a clickable image linking to the video in the browser.\n\nOf course, the question of whether you should add video to email is another issue altogether. If you lean toward the \u201cyes\u201d side check out the technique with code samples.\n\nWhat about mobile email?\n\nThe mobile email landscape was a huge mess until recently. With the advent of the iPhone, Android and big improvements from Palm and RIM, it\u2019s becoming less important to think of mobile as a different email platform altogether.\n\nThat said, there are a few key pointers to keep in mind when coding your emails to get a decent result for your more mobile subscribers.\n\nKeep the width less than 600 pixels\n\nBecause of email client preview panes, this rule was important long before mobile email clients came of age. In truth, the iPhone and Pre have a viewport of 320 pixels, the Droid 480 pixels and the Blackberry models hover around 360 pixels. Sticking to a maximum of 600 pixels wide ensures your design should still be readable when scaled down for each device. This width also gives good results in desktop and web-based preview panes.\n\nBe aware of automatic text resizing\n\nIn what is almost always a good feature, email clients using webkit (such as the iPhone, Pre and Android) can automatically adjust font sizes to increase readability. If testing shows this feature is doing more harm than good to your design, you can always disable it with the following CSS rule:\n\n-webkit-text-size-adjust: none;\n\nDon\u2019t forget to test\n\nWhile standards support in email clients hasn\u2019t made much progress in the last few years, there has been continual change (for better or worse) in some email clients. Web-based providers like Yahoo!, Hotmail and Gmail are notorious for this. On countless occasions I\u2019ve seen a proven design suddenly stop working without explanation.\n\nFor this reason alone it\u2019s important to retest your email designs on a regular basis. I find a quick test every month or so does the trick, especially in the web-based clients. The good news is that after designing and testing a few HTML email campaigns, you will find that order will emerge from the chaos. Many of these pitfalls will become quite predictable and your inbox-friendly designs will take shape with them in mind.\n\nLooking ahead\n\nDesigning HTML email can be a tough pill for new designers and standardistas to swallow, especially given the fickle and retrospective nature of email clients today. With HTML5 just around the corner we are entering a new, uncertain phase. Will email client developers take the opportunity to repent on past mistakes and bring email clients into the present? The aim of groups such as the Email Standards Project is to make much of the above advice as redundant as the long-forgotten <blink> and <marquee> tags, however, only time will tell if this is to become a reality.\n\nAlthough not the most compliant (or fashionable) medium, the results speak for themselves \u2013 email is, and will continue to be one of the most successful and targeted marketing channels available to you. As a designer with HTML email design skills in your arsenal, you have the opportunity to not only broaden your service offering, but gain a unique appreciation of how vital standards are.\n\nNext steps\n\nReady to get started? There are a number of HTML email design galleries to provide ideas and inspiration for your own designs. \n\n\n\thttp://www.campaignmonitor.com/gallery/\n\thttp://htmlemailgallery.com/\n\thttp://inboxaward.com/\n\n\nEnjoy!", "year": "2009", "author": "David Greiner", "author_slug": "davidgreiner", "published": "2009-12-13T00:00:00+00:00", "url": "https://24ways.org/2009/rock-solid-html-emails/", "topic": "code"}
{"rowid": 190, "title": "Self-Testing Pages with JavaScript", "contents": "Working at an agency I am involved more and more on projects in which client side code is developed internally then sent out to a separate team for implementation. You provide static HTML, CSS and JavaScript which then get placed into the CMS and brought to life as an actual website. As you can imagine this can sometimes lead to frustrations. However many safeguards you include, handing over your code to someone else is always a difficult thing to do effectively.\n\nIn this article I will show you how you can create a JavaScript implementation checker and that will give you more time for drink based activity as your web site and apps are launched quicker and with less unwanted drama!\n\nAn all too frequent occurrence\n\nYou\u2019ve been working on a project for weeks, fixed all your bugs and send it to be implemented. You hear nothing and assume all is going well then a few days before it\u2019s meant to launch you get an email from the implementation team informing you of bugs in your code that you need to urgently fix.\n\n The 24ways website with a misspelt ID for the years menu\n\nBeing paranoid you trawl through the preview URL, check they have the latest files, check your code for errors then notice that a required HTML attribute has been omitted from the build and therefore CSS or JavaScript you\u2019ve hooked onto that particular attribute isn\u2019t being applied and that\u2019s what is causing the \u201cbug\u201d.\n\nIt takes you seconds drafting an email informing them of this, it takes then seconds putting the required attribute in and low and behold the bug is fixed, everyone is happy but you\u2019ve lost a good few hours of your life \u2013 this time could have been better spent in the pub.\n\nI\u2019m going to show you a way that these kind of errors can be alerted immediately during implementation of your code and ensure that when you are contacted you know that there actually is a bug to fix. You probably already know the things that could be omitted from a build and look like bugs so you\u2019ll soon be creating tests to look for these and alert when they are not found on the rendered page. The error is reported directly to those who need to know about it and fix it. Less errant bug reports and less frantic emails ahoy!\n\n A page with an implementation issue and instant feedback on the problem\n\nJavaScript selector engines to the rescue\n\nWhether you\u2019re using a library or indeed tapping into the loveliness of the new JavaScript Selector APIs looking for particular HTML elements in JavaScript is fairly trivial now. \n\nFor instance this is how you look for a div element with the id attribute of year (the missing attribute from top image) using jQuery (the library I\u2019ll be coding my examples in): \n\nif ($(\u2018div#year\u2019).length) {\n\talert(\u2018win\u2019);\n}\n\nUsing this logic you can probably imagine how you can write up a quick method to check for the existence of a particular element and alert when it\u2019s not present \u2014 but assuming you have a complex page you\u2019re going to be repeating yourself a fair bit and we don\u2019t want to be doing that.\n\nTest scripts\n\nIf you\u2019ve got a lot of complex HTML patterns that need testing across a number of different pages it makes sense to keep your tests out of production code. Chances are you\u2019ve already got a load of heavy JavaScript assets, and when it comes to file size saving every little helps.\n\nI don\u2019t think that tests should contain code inside of them so keep mine externally as JSON. This also means that you can use the one set of tests in multiple places. We already know that it\u2019s a good idea to keep our CSS and JavaScript separate so lets continue along those lines here.\n\nThe test script for this example looks like this:\n\n{\n\t\"title\": \"JS tabs implementation test\",\n\t\"description\": \"Check that the correct HTML patterns has been used\",\n\t\"author\": \"Ross Bruniges\",\n\t\"created\": \"20th July 2009\",\n\t\"tests\": [\n\t\t{\n\t\t\t\"name\": \"JS tabs elements\",\n\t\t\t\"description\": \"Checking that correct HTML elements including class/IDs are used on the page for the JS to progressively enhance\",\n\t\t\t\"selector\": \"div.tabbed_content\",\n\t\t\t\"message\": \"We couldn't find VAR on the page - it's required for our JavaScript to function correctly\",\n\t\t\t\"check_for\": {\n\t\t\t\t\"contains\": {\n\t\t\t\t\t\"elements\": [\n\t\t\t\t\t\t\"div.tab_content\", \"h2\" \n\t\t\t\t\t],\n\t\t\t\t\t\"message\": \"We've noticed some missing HTML:</p><ul><li>VAR</li></ul><p>please refer to the examples sent for reference\" \n\t\t\t\t} \n\t\t\t} \n\t\t} \n\t]\n}\n\nThe first four lines are just a little bit of meta data so we remember what this test was all about when we look at it again in the future, or indeed if it ever breaks. The tests are the really cool parts and firstly you\u2019ll notice that it\u2019s an array \u2013 we\u2019re only going to show one example test here but there is no reason why you can\u2019t place in as many as you want. I\u2019ll explain what each of the lines in the example test means:\n\n\n\tname \u2013 short test name, I use this in pass/fail messaging later\n\tdescription \u2013 meta data for future reference\n\tselector \u2013 the root HTML element from which your HTML will be searched\n\tmessage \u2013 what the app will alert if the initial selector isn\u2019t found\n\tcheck_for \u2013 a wrapper to hold inner tests \u2013 those run if the initial selector does match\n\t\n\t\tcontains \u2013 the type of check, we\u2019re checking that the selector contains specified elements\n\t\t\n\t\t\telements \u2013 the HTML elements we are searching for\n\t\t\tmessage \u2013 a message for when these don\u2019t match (VAR is substituted when it\u2019s appended to the page with the name of any elements that don\u2019t exist)\n\t\t\n\t\t\n\t\t\n\nIt\u2019s very important to pass the function valid JSON (JSONLint is a great tool for this) otherwise you might get a console showing no tests have even been run. \n\nThe JavaScript that makes this helpful\n\nAgain, this code should never hit a production server so I\u2019ve kept it external. This also means that the only thing that\u2019s needed to be done by the implementation team when they are ready to build is that they delete this code.\n\n<script src=\"sleuth.js\" type=\"text/javascript\"></script>\n<script type=\"text/javascript\">\n\t$(document).ready(function() {\n\t  sleuth.test_page.init(\u2018js_tabs_test.js');\n\t}); \n</script>\n\n\u201cView the full JavaScript:/examples/self-testing-pages-with-javascript/js/tests/test_suite.js\n\nThe init function appends the test console to the page and inserts the CSS file required to style it (you don\u2019t need to use pictures of me when tests pass and fail though I see no reason why you shouldn\u2019t), goes and grabs the JSON file referenced and parses it. The methods to pass (tests_pass) and fail (haz_fail) the test I hope are pretty self-explanatory as is the one which creates the test summary once everything has been run (create_summary).\n\nThe two interesting functions are init_tests and confirm_html.\n\ninit_tests\n\ninit_tests:function(i,obj) {\n\tvar $master_elm = $(obj.selector);\n\tsleuth.test_page.$logger.append(\"<div id='test_\" + i + \"' class='message'><p><em>\" + obj.name + \"</em></p></div>\");\n\tvar $container = $('#test_' + i);\n\tif (!$master_elm.length) {\n\t\tvar err_sum = obj.message.replace(/VAR/gi, obj.selector);\n\t\tsleuth.test_page.haz_failed(err_sum, $container);\n\t\treturn;\n\t}\n\tif (obj.check_for) {\n\t\t$.each(obj.check_for,function(key, value){\n\t\t\tsleuth.test_page.assign_checks($master_elm, $container, key, value);\n\t\t});\n\t} else {\n\t\tsleuth.test_page.tests_passed($container);\n\t\treturn;\n\t}\n}\n\nThe function gets sent the number of the current iteration (used to create a unique id for its test summary) and the current object that contains the data we\u2019re testing against as parameters.\n\nWe grab a reference to the root element and this is used (pretty much in the example shown right at the start of this article) and its length is checked. If the length is positive we know we can continue to the inner tests (if they exist) but if not we fail the test and don\u2019t go any further. We append the error to the test console for everyone to see.\n\nIf we pass the initial check we send the reference to the root element, message contains and the inner object to a function that in this example sends us on to confirm_html (if we had a more complex test suite it would do a lot more). \n\nconfirm_html\n\nconfirm_html:function(target_selector, error_elm, obj) {\n\tvar missing_elms = [];\n\t$.each(obj.elements, function(i, val) {\n\t\tif (!target_selector.find(val).length) {\n\t\t\tmissing_elms.push(val);\n\t\t}\t\n\t});\n\tif (missing_elms.length) {\n\t\tvar file_list = missing_elms.join('</li><li>');\n\t\tvar err_sum = obj.message.replace(/VAR/gi, file_list);\n\t\tsleuth.test_page.haz_failed(err_sum, error_elm);\n\t\treturn;\n\t}\n\tsleuth.test_page.tests_passed(error_elm);\n\treturn;\n}\n\nWe\u2019re again using an array to check for a passed or failed test and checking its length but this time we push in a reference to each missing element we find.\n\nIf the test does fail we\u2019re providing even more useful feedback by informing what elements have been missed out. All the implementation team need do is look for them in the files we\u2019ve sent and include them as expected.\n\nNo more silly implementation bugs!\n\nHere is an example of a successful implementation.\n\nHere are some examples of failed implementations \u2013 one which fails at finding the root node and one that has the correct root node but none of the inner HTML tests pass.\n\nIs this all we can check for?\n\nCertainly not!\n\nJavaScript provides pretty easy ways to check for attributes, included files (if the files being checked for are being referenced correctly and not 404ing) and even applied CSS.\n\nWant to check that those ARIA attributes are being implemented correctly or that all images contain an alt attribute well this simple test suite can be extended to include tests for this \u2013 the sky is pretty much up to your imagination.", "year": "2009", "author": "Ross Bruniges", "author_slug": "rossbruniges", "published": "2009-12-12T00:00:00+00:00", "url": "https://24ways.org/2009/self-testing-pages-with-javascript/", "topic": "process"}
{"rowid": 184, "title": "Spruce It Up", "contents": "The landscape of web typography is changing quickly these days. We\u2019ve gone from the wild west days of sIFR to Cuf\u00f3n to finally seeing font embedding seeing wide spread adoption by browser developers (and soon web designers) with @font-face. For those who\u2019ve felt limited by the typographic possibilities before, this has been a good year.\n\nAs Mark Boulton has so eloquently elucidated, @font-face embedding doesn\u2019t come without its drawbacks. Font files can be quite large and FOUT\u2014that nasty flash of unstyled text\u2014can be a distraction for users.\n\nData URIs\n\nWe can battle FOUT by using Data URIs. A Data URI allows the font to be encoded right into the CSS file. When the font comes with the CSS, the flash of unstyled text is mitigated. No extra HTTP requests are required. \n\nDon\u2019t be a grinch, though. Sending hundreds of kilobytes down the pipe still isn\u2019t great. Sometimes, all we want to do is spruce up our site with a little typographic sugar. \n\nBe Selective\n\nDan Cederholm\u2019s SimpleBits is an attractive site. \n\n\n\nTake a look at the ampersand within the header of his site. It\u2019s the lovely (and free) Goudy Bookletter 1911 available from The League of Movable Type. The Opentype format is a respectable 28KB. Nothing too crazy but hold on here. Mr. Cederholm is only using the ampersand! Ouch. That\u2019s a lot of bandwidth just for one character.\n\nCan we optimize a font like we can an image? Yes. Image optimization essentially works by removing unnecessary image data such as colour data, hidden comments or using compression algorithms. How do you remove unnecessary information from a font? Subsetting. \n\nIf you\u2019re the adventurous type, grab a copy of FontForge, which is an open source font editing tool. You can open the font, view and edit any of the glyphs and then re-generate the font. The interface is a little clunky but you\u2019ll be able to select any character you don\u2019t want and then cut the glyphs. Re-generate your font and you\u2019ve now got a smaller file. \n\n\n\nThere are certainly more optimizations that can also be made such as removing hinting and kerning information. Keep in mind that removing this information may affect how well the type renders.\n\nAt this time of year, though, I\u2019m sure you\u2019re quite busy. Save yourself some time and head on over to the Font Squirrel Font Generator.\n\n\n\nThe Font Generator is extremely handy and allows for a number of optimizations and cross-platform options to be generated instantly. Select the font from your local system\u2014make sure that you are only using properly licensed fonts! \n\nIn this particular case, we only want the ampersand. Click on Subset Fonts which will open up a new menu. Unselect any preselected sets and enter the ampersand into the Single Characters text box. \n\nGenerate your font and what are you left with? 3KB. \n\n\n\nThe Font Generator even generates a base64 encoded data URI stylesheet to be imported easily into your project.\n\nCheck out the Demo page. (This demo won\u2019t work in Internet Explorer as we\u2019re only demonstrating the Data URI font embedding and not using the EOT file format that IE requires.) \n\nNo Unnecessary Additives\n\nIf you peeked under the hood of that demo, did you notice something interesting? There\u2019s no <span> around the ampersand. The great thing about this is that we can take advantage of the font stack\u2019s natural ability to switch to a fallback font when a character isn\u2019t available.\n\nJust like that, we\u2019ve managed to spruce up our page with a little typographic sugar without having to put on too much weight.", "year": "2009", "author": "Jonathan Snook", "author_slug": "jonathansnook", "published": "2009-12-19T00:00:00+00:00", "url": "https://24ways.org/2009/spruce-it-up/", "topic": "code"}
{"rowid": 172, "title": "The Construction of Instruction", "contents": "If the world were made to my specifications, all your clients would be happy to pay for a web writer to craft every sentence into something as elegant as it was functional, and the client would have planned the content so that you had it just when you asked, but we both know that won\u2019t happen every time. Sometimes you just know they are going to write the About page, two company blog pages and a Facebook fan page before resigning their position as chief content writer and you are going to end up filling in all the details that will otherwise just be Lorem Ipsum.\n\nWelcome to the big world of microcopy:\n\n\n\tA man walks into a bar. The bartender nods a greeting and watches as the man scans the bottles behind the bar. \n\u201cEr, you have a lot of gin here. Is there one you would recommend?\u201d \n\u201cYes sir.\u201d\nLong pause. \n\u201c\u2026 Never mind, I\u2019ll have the one in the green bottle.\u201d \n\u201cCertainly, sir. But you can\u2019t buy it from this part of the bar. You need to go through the double doors there.\u201d \n\u201cBut they look like they lead into the kitchen.\u201d \n\u201cReally, sir? Well, no, that\u2019s where we allow customers to purchase gin.\u201d \nThe man walks through the doors. On the other side he is greeted by the same bartender. \n\u201cY-you!\u201d he stammers but the reticent bartender is now all but silent. \nUnnerved, the man points to a green bottle, \u201cEr, I\u2019d like to buy a shot of that please. With ice and tonic water.\u201d \nThe bartender mixes the drink and puts it on the bar just out of the reach of the man and looks up. \n\u201cUm, do you take cards?\u201d the man asks, ready to present his credit card. \nThe bartender goes to take the card to put it through the machine. \n\u201cWait! How much was it \u2013 with sales tax and everything? Do you take a gratuity?\u201d \nThe bartender simply shrugs. \nThe man eyes him for a moment and decides to try his luck at the bar next door.\n\n\nIn the Choose Your Own Adventure version of this story there are plenty of ways to stop the man giving up. You could let him buy the gin right where he was; you could make the price more obvious; you could signpost the place to buy gin. The mistakes made by the bar and bartender are painfully obvious. And yet, there are websites losing users everyday due to the same lack of clear instruction.\n\nA smidgen of well written copy goes a long way to reassure the nervous prospect. Just imagine if our man walked into the bar and the bartender explained that although the bar was here, sales were conducted in the next room because people were not then able to overhear the man\u2019s card details. Instead, he is left to fend for himself. Online, we kick customers through the anonymous double doors with a merry \u2018Paypal will handle your transaction!\u2019.\n\nRecently I worked on a site where the default error message, to account for anything happening that the developers hadn\u2019t accounted for, was \u2018SOMETHING HAS GONE WRONG!\u2019. It might have been technically accurate but this is not how to inspire confidence in your customers that they can make a successful purchase through you. As everyone knows they can shop just fine, thank you very much, it is your site they will blame. Card declined? It\u2019s the site. Didn\u2019t know my email address has changed? It\u2019s the site. Can\u2019t log in? It\u2019s the site.\n\nYes, yes. I know. None of these things are related to your site, or you the developer, but drop outs will be high and you\u2019ll get imploring emails from your client asking you to wade knee deep into the site analytics to find a solution by testing 41 shades of blue because if it worked for Google\u2026? Before you try a visual fix involving the Dulux paint chart breeding with a Pantone swatch, take an objective look at the information you are giving customers. How much are you assuming they know? How much are you relying on age-old labels and prompts without clarification?\n\nHere\u2019s a fun example for non-North Americans: ask your Granny to write out her billing address. If she looks at you blankly, tell her it is the address where the bank sends her statements. Imagine how many fewer instances of the wrong address there would be if we routinely added that information when people purchased from the UK? Instead, we rely on a language convention that hasn\u2019t much common usage without explanation because, well, because we always have since the banks told us how we could take payments online.\n\nSo. Your client is busying themselves with writing the ultimate Facebook fan page about themselves and here you are left with creating a cohesive signup process or basket or purchase instructions. Here are five simple rules for bending puny humans to your will creating instructive instructions and constructive error messages that ultimately mean less hassle for you.\n\nPlan what you want to say and plan it out as early as possible \n\nThis goes for all content. Walk a virtual mile in the shoes of your users. What specific help can you offer customers to actively encourage continuation and ensure a minimal amount of dropouts? Make space for that information. One of the most common web content mistakes is jamming too much into a space that has been defined by physical boundaries rather than planned out. If you manage it, the best you can hope for is that no-one notices it was a last-minute job. Mostly it reads like a bad game of Tetris with content sticking out all over the place.\n\nUse your words\n\nMicrocopy often says a lot in a few words but without those words you could leave room for doubt. When doubt creeps in a customer wants reassurance just like Alice:\n\n\n\tThis time (Alice) found a little bottle\u2026 with the words \u2018DRINK ME\u2019 beautifully printed on it in large letters. It was all very well to say \u2018Drink me,\u2019 but the wise little Alice was not going to do that in a hurry. \u2018No, I\u2019ll look first,\u2019 she said, \u2018and see whether it\u2019s marked \u201cpoison\u201d or not\u2019\n\n\nAlice in Wonderland, Lewis Carroll.\n\nValue clarity over brevity. Or a little more prosaically, \u201cIf in doubt, spell it out.\u201d Thanks, Jeremy!\n\nBe prepared to help\n\n\n\t\u2018Login failed: email/password combination is incorrect.\u2019\n\n\nOh.\n\n\n\t\u2018Login failed: email/password combination is incorrect. \nAre you typing in all capitals? Caps Lock may be on. \nHave you changed your email address recently and not updated your account with us? Try your old email address first. \nCan\u2019t remember your password? We can help you reset it.\u2019 \n\n\nAh!\n\nBe direct and be informative\n\nThere is rarely a site that doesn\u2019t suffer from some degree of jargon. Squash it early by setting a few guidelines about what language and tone of voice you will use to converse with your users. Be consistent. Equally, try to be as specific as possible when giving error messages or instructions and allay fears upfront.\n\nCard payments are handled by paypal but you do not need a paypal account to pay.\n\nWe will not display your email address but we might need it to contact you.\n\nSign up for our free trial (no credit card required).\n\nCombine copy and visual cues, learn from others and test new combinations\n\nWhile visual design and copy can work independently, they work best together. New phrases and designs are being tested all the time so take a peek at abtests.com for more ideas, then test some new ideas and add your own results. Have a look at the microcopy pool on Flickr for some wonderful examples of little words and pictures working together. And yes, you absolutely should join the group and post more examples.\n\n\n\tA man walks into a bar. The bartender greets him in a friendly manner and asks him what he would like to drink. \n\u201cGin and Tonic, please.\u201d \n\u201cYes sir, we have our house gin on offer but we also have a particularly good import here too.\u201d\n\u201cThe import, please.\u201d \n\u201cHow would you like it? With a slice of lemon? Over ice?\u201d \n\u201cBoth\u201d \n\u201cThat\u2019s \u00a33.80. We accept cash, cards or you could open a tab.\u201d \n\u201cCard please.\u201d \n\u201cCertainly sir. Move just over here so that you can\u2019t be observed. Now, please enter your pin number.\u201d \n\u201cThank you.\u201d \n\u201cAnd here is your drink. Do let me know if there is a problem with it. I shall just be here at the bar. Enjoy.\u201d\n\n\nCheers!", "year": "2009", "author": "Relly Annett-Baker", "author_slug": "rellyannettbaker", "published": "2009-12-08T00:00:00+00:00", "url": "https://24ways.org/2009/the-construction-of-instruction/", "topic": "content"}
{"rowid": 186, "title": "The Web Is Your CMS", "contents": "It is amazing what you can do these days with the services offered on the web. Flickr stores terabytes of photos for us and converts them automatically to all kind of sizes, finds people in them and even allows us to edit them online. YouTube does almost the same complete job with videos, LinkedIn allows us to maintain our CV, Delicious our bookmarks and so on.\n\nWe don\u2019t have to do these tasks ourselves any more, as all of these systems also come with ways to use the data in the form of Application Programming Interfaces, or APIs for short. APIs give us raw data when we send requests telling the system what we want to get back.\n\nThe problem is that every API has a different idea of what is a simple way of accessing this data and in which format to give it back.\n\nMaking it easier to access APIs\n\nWhat we need is a way to abstract the pains of different data formats and authentication formats away from the developer \u2014 and this is the purpose of the Yahoo Query Language, or YQL for short. \n\nLibraries like jQuery and YUI make it easy and reliable to use JavaScript in browsers (yes, even IE6) and YQL allows us to access web services and even the data embedded in web documents in a simple fashion \u2013 SQL style.\n\nSelect * from the web and filter it the way I want\n\nYQL is a web service that takes a few inputs itself:\n\n\n\tA query that tells it what to get, update or access\n\tAn output format \u2013 XML, JSON, JSON-P or JSON-P-X\n\tA callback function (if you defined JSON-P or JSON-P-X)\n\n\nYou can try it out yourself \u2013 check out this link to get back Flickr photos for the search term \u2018santa\u2019*%20from%20flickr.photos.search%20where%20text%3D%22santa%22&format=xml in XML format. The YQL query for this is \n\nselect * from flickr.photos.search where text=\"santa\"\n\nThe easiest way to take your first steps with YQL is to look at the console. There you get sample queries, access to all the data sources available to you and you can easily put together complex queries. In this article, however, let\u2019s use PHP to put together a web page that pulls in Flickr photos, blog posts, Videos from YouTube and latest bookmarks from Delicious.\n\nCheck out the demo and get the source code on GitHub.\n\n<?php\n  /* YouTube RSS */\n  $query = 'select description from rss(5) where url=\"http://gdata.youtube.com/feeds/base/users/chrisheilmann/uploads?alt=rss&v=2&orderby=published&client=ytapi-youtube-profile\";';\n  /* Flickr search by user id */\n  $query .= 'select farm,id,owner,secret,server,title from flickr.photos.search where user_id=\"11414938@N00\";';\n  /* Delicious RSS */\n  $query .= 'select title,link from rss where url=\"http://feeds.delicious.com/v2/rss/codepo8?count=10\";';\n  /* Blog RSS */\n  $query .= 'select title,link from rss where url=\"http://feeds.feedburner.com/wait-till-i/gwZf\"';\n  /* The YQL web service root with JSON as the output */\n  $root = 'http://query.yahooapis.com/v1/public/yql?format=json&env=store%3A%2F%2Fdatatables.org%2Falltableswithkeys';\n  /* Assemble the query */\n  $query = \"select * from query.multi where queries='\".$query.\"'\";\n  $url = $root . '&q=' . urlencode($query);\n  /* Do the curl call (access the data just like a browser would) */\n  $ch = curl_init(); \n  curl_setopt($ch, CURLOPT_URL, $url); \n  curl_setopt($ch, CURLOPT_RETURNTRANSFER, 1); \n  curl_setopt($ch, CURLOPT_SSL_VERIFYPEER, false);\n  curl_setopt($ch, CURLOPT_SSL_VERIFYHOST, false);\n  $output = curl_exec($ch); \n  curl_close($ch);\n  $data = json_decode($output);\n  $results = $data->query->results->results;\n  /* YouTube output */\n  $youtube = '<ul id=\"youtube\">';\n  foreach($results[0]->item as $r){\n\t$cleanHTML = undoYouTubeMarkupCrimes($r->description);\n\t$youtube .= '<li>'.$cleanHTML.'</li>';\n  }\n  $youtube .= '</ul>';\n  /* Flickr output */\n  $flickr = '<ul id=\"flickr\">';\n  foreach($results[1]->photo as $r){\n\t$flickr .= '<li>'.\n\t\t\t   '<a href=\"http://www.flickr.com/photos/codepo8/'.$r->id.'/\">'.\n\t\t\t   '<img src=\"http://farm' .$r->farm . '.static.flickr.com/'.\n\t\t\t   $r->server . '/' . $r->id . '_' . $r->secret . \n\t\t\t   '_s.jpg\" alt=\"'.$r->title.'\"></a></li>';\n  }\n  $flickr .= '</ul>';\n  /* Delicious output */\n  $delicious = '<ul id=\"delicious\">';\n  foreach($results[2]->item as $r){\n\t$delicious .= '<li><a href=\"'.$r->link.'\">'.$r->title.'</a></li>';\n  }\n  $delicious .= '</ul>';\n  /* Blog output */\n  $blog = '<ul id=\"blog\">';\n  foreach($results[3]->item as $r){\n\t$blog .= '<li><a href=\"'.$r->link.'\">'.$r->title.'</a></li>';\n  }\n  $blog .= '</ul>';\n  function undoYouTubeMarkupCrimes($str){\n\t$cleaner = preg_replace('/555px/','100%',$str);\n\t$cleaner = preg_replace('/width=\"[^\"]+\"/','',$cleaner);\n\t$cleaner = preg_replace('/<tbody>/','<colgroup><col width=\"20%\"><col width=\"50%\"><col width=\"30%\"></colgroup><tbody>',$cleaner);\n\treturn $cleaner;\n  }\n?>\n\nWhat we are doing here is create a few different YQL statements and queue them together with the query.multi table. Each of these can be run inside YQL itself. Check out the YouTube, Flickr, Delicious and Blog example in the console if you don\u2019t believe me. The benefit of using this table is that we don\u2019t make individual requests for each query but we get all the data in one single request \u2013 which means a much better performing solution as the YQL server farm is faster on the web than our servers.\n\nWe point the query to the YQL web service end point and get the resulting data using cURL. All that we need to do then is to convert the returned data to HTML lists that can be printed out inside an HTML template.\n\nMixing, matching and using HTML as a data source\n\nThis was a simple example of what YQL can do for you. Where it gets really powerful however is by mixing and matching different APIs. YQL is also a good tool to get information from HTML documents. By using the html table you can load the content of an HTML document (which gets fixed automatically by HTMLTidy) and use XPATH to filter down results to what you need. Take the following example which takes headlines from the news.bbc.co.uk homepage and runs the results through Yahoo\u2019s Term Extractor API to give you a list of currently hot topics.\n\nselect * from search.termextract where context in (\n  select content from html where url=\"http://news.bbc.co.uk\" and xpath=\"//table[@width=800]//a\"\n)\n\nTry it out in the console or see the results here. In English, this means:\n\n\n\tGo to http://news.bbc.co.uk and get me the HTML\n\tRun it through HTML Tidy to clean it up.\n\tGet me only the links inside the table with an attribute of width and the value 800\n\tGet only the content of the link and for each of the links\n\t\n\t\tTake the content and send it as context to the Yahoo Term Extractor API\n\t\n\t\n\nIf we choose JSON-P as the output format we can use the outcome directly in JavaScript (see this demo or see its source):\n\n<ul id=\"hottopics\"></ul>\n<script type=\"text/javascript\">\nfunction hottopics(o){\n  var res = o.query.results.Result,\n\t  all = res.length,\n\t  topics = {},\n\t  out = [],\n\t  html = '',\n\t  i=0;\n  /* create hash from topics to prevent repetition */\t \n  for(i=0;i<all;i++){\n\ttopics[res[i]] = res[i];\n  };\n  for(i in topics){\n\tout.push(i);\n  };\n  html = '<li>' + out.join('</li><li>') + '</li>';\n  document.getElementById('hottopics').innerHTML = html;\n};\n</script>\n<script type=\"text/javascript\" src=\"http://query.yahooapis.com/v1/public/yql?q=select%20content%20from%20search.termextract%20where %20context%20in%20(select%20content%20from%20html%20where%20url%3D%22http%3A%2F%2Fnews.bbc.co.uk%22%20and%20xpath%3D%22%2F%2Ftable%5B%40width%3D800%5D%2F%2Fa%22)&format=json&callback=hottopics\"></script>\n\nUsing JSON, we can also use PHP which means the demo works for everybody \u2013 not only those with JavaScript enabled (see this demo or see its source):\n\n<ul id=\"hottopics\"><li>\n<?php\n$url = 'http://query.yahooapis.com/v1/public/yql?q=select%20content'.\n\t   '%20from%20search.termextract%20where%20context%20in'.\n\t   '%20(select%20content%20from%20html%20where%20url%3D%22'.\n\t   'http%3A%2F%2Fnews.bbc.co.uk%22%20and%20xpath%3D%22%2F%2F'.\n\t   'table%5B%40width%3D800%5D%2F%2Fa%22)&format=json';\n$ch = curl_init(); \ncurl_setopt($ch, CURLOPT_URL, $url); \ncurl_setopt($ch, CURLOPT_RETURNTRANSFER, 1); \ncurl_setopt($ch, CURLOPT_SSL_VERIFYPEER, false);\ncurl_setopt($ch, CURLOPT_SSL_VERIFYHOST, false);\n$output = curl_exec($ch); \ncurl_close($ch);\n$data = json_decode($output);\n$topics = array_unique($data->query->results->Result);\necho join('</li><li>',$topics);\n?>\n</li></ul>\n\nSummary\n\nThis article could only scratch the surface of YQL. You have not only read access to the web but you can also write to web services. For example you can update Twitter, post to your WordPress blog or shorten a URL with bit.ly. Using Open Tables you can add any web service to the YQL interface and you can even run server-side JavaScript which is for example useful to return Flickr photos as HTML or get the HTML content from a document that needs POST data.\n\nThe web of data is already here, and using YQL you don\u2019t have to be a web services expert to use it and be part of it.", "year": "2009", "author": "Christian Heilmann", "author_slug": "chrisheilmann", "published": "2009-12-17T00:00:00+00:00", "url": "https://24ways.org/2009/the-web-is-your-cms/", "topic": "code"}
{"rowid": 174, "title": "Type-Inspired Interfaces", "contents": "One of the things that terrifies me most about a new project is the starting point. How is the content laid out? What colors do I pick? Once things like that are decided, it becomes significantly easier to continue design, but it\u2019s the blank page where I spend the most time.\n\nTo that end, I often start by choosing type. I don\u2019t need to worry about colors or layout or anything else\u2026 just the right typefaces that support the art direction. (This article won\u2019t focus on how to choose a typeface, but there are some really great resources if you interested in that sort of thing.)\n\nAnd just like that, all your work is done. \u201cHold it just a second,\u201d you might say. \u201cAll I\u2019ve done is pick type. I still have to do the rest!\u201d\n\nTo which I would reply, \u201cSilly rabbit. You already have!\u201d You see, picking the right typeface gets you farther than you might think. Here are a few tips on taking cues from type to design interfaces and interface elements.\n\nPerfecting Web 2.0\n\nIf you\u2019re going for that beloved rounded corner look, you might class it up a bit by choosing the wonderful Omnes Pro by Joshua Darden. As the typeface already has a rounded aesthetic, making buttons that fit the style should be pretty easy.\n\nI\u2019ve found that using multiples helps to keep your interfaces looking balanced and proportional. Noticing that the top left edge of the letter \u201cP\u201d has about an 12px corner radius, let\u2019s choose a 24px radius for our button (a multiple of 2), so that we get proper rounded corners. By taking mathematical measurements from the typeface, our button looks more thought out than just \u201cplace arbitrary text on arbitrarily-sized button.\u201d Pretty easy, eh?\n\n\n\nWhat\u2019s in a name(plate)?\n\nRounded buttons are pretty popular buttons nowadays, so let\u2019s try something a bit more stylized.\n\nHave a gander at Brothers, a sturdy face from Emigre. The chiseled edges give us a perfect cue for a stylized button. Using the same slope, you can make plated-looking buttons that fit a different kind of style.\n\n\n\nHeadlining\n\nYou might even take some cues from the style of the typeface itself. Didone serifs are known for their lack of brackets\u30fcthat is, a gradual transition from the stem to the serif. Instead, they typically connect at a right angle. Another common characteristic is the high contrast in the strokes: very thick stems, very thin serifs.\n\nSo, when using a high contrast typeface, you can use it to your advantage to enhance hierarchy. Following our \u201cmultiples\u201d guideline, a 12px measurement from the stems helps us create a top rule with a height of 24px (a multiple of 2). We can take the exact 1px measurement from the serif\u2014a multiple of 1\u2014to create the bottom rule. Voil\u00e0! I use this technique a lot.\n\n\n\nSwashbucklers\n\nAnd don\u2019t forget the importance of visual \u201cspeed bumps\u201d to break up long passages of text. A beautiful face like Alejandro Paul\u2019s Ministry Script has over a thousand characters that can be manipulated or even combined to create elegant interface elements. Altering the partial differential character (\u2202) creates a delightful ornament that can help to guide the eye through content.\n\n\n\nStagger & Swagger\n\nWhat about layout? How can we use typography to inform how our content is displayed?\n\nLet\u2019s take a typeface like Assembler. We might use this for a design that needs to feel uneasy or uncomfortable. In design terms, that might translate into using irregular shapes and asymmetry. Using the proportional distances and degrees from the perpendiculars, we could easily create a multi-column layout that jives with the general tone. And for all you skeptics that don\u2019t think a layout like this is doable on the web, stranger things have happened.\n\n Background texture generously offered by Bittbox.\n\nOverall Design Direction\n\nFinally, your typography could impact the entire look of the site, from the navigation to the interaction and everything in between. Check out how the (now-defunct) Nike Free site\u2019s typography echoes the product itself, and in turn influences the navigation.\n\n\n\nFind Your Type\n\nWith thousands of fonts to choose from, the possibilities are ridiculously open. From angles to radii to color to weight, you\u2019ve got endless fodder before you. Great type designers spent countless hours slaving over these detailed letterforms; take advantage of it! Don\u2019t feel like you have to limit yourself to the same old Helvetica and wet floors\u2026 unless your design calls for it. \n\nHappy hunting!", "year": "2009", "author": "Dan Mall", "author_slug": "danmall", "published": "2009-12-07T00:00:00+00:00", "url": "https://24ways.org/2009/type-inspired-interfaces/", "topic": "design"}
{"rowid": 176, "title": "What makes a website successful? It might not be what you expect!", "contents": "What makes some sites succeed and others fail? Put another way, when you are asked to redesign an existing website, what problems are you looking out for and where do you concentrate your efforts?\n\nI would argue that as web designers we spend too much time looking at the wrong kind of problem.\n\nI recently ran a free open door consultancy clinic to celebrate the launch of my new book (yes I know, two shameless plugs in one sentence). This involved various website owners volunteering their sites for review. Both myself and the audience then provided feedback.\n\nWhat quickly became apparent is that the feedback being given by the audience was biased towards design and development.\n\nAlthough their comments were excellent it focused almost exclusively on the quality of code, site aesthetics and usability. To address these issues in isolation is similar to treating symptoms and ignoring the underlying illness.\n\nCure the illness not the symptoms\n\nPoor design, bad usability and terribly written code are symptoms of bigger problems. Often when we endeavour to address these symptoms, we meet resistance from our clients and become frustrated. This is because our clients are still struggling with fundamental concepts we take for granted.\n\nBefore we can address issues of aesthetics, usability and code, we need to tackle business objectives, calls to action and user tasks. Without dealing with these fundamental principles our clients\u2019 website will fail.\n\nLet me address each in turn:\n\nUnderstand the business objectives\n\nDo you ask your clients why they have a website? It feels like an obvious question. However, it is surprising how many clients do not have an answer.\n\nWithout having a clear idea of the site\u02bcs business objectives, the client has no way to know whether it is succeeding. This means they have no justification for further investment and that leads to quibbling over every penny.\n\nHowever most importantly, without clearly defined business aims they have no standard against which to base their decisions. Everything becomes subjective and that will inevitably lead to problems.\n\nBefore we start discussing design, usability and development, we need to focus our clients on establishing concrete business objectives. This will provide a framework for decision making during the development phase.\n\nThis will not only help the client make decisions, it will also focus them on the business and away from micro managing the design.\n\nEstablish clear calls to action\n\nOnce business objectives have been set this opens up the possibility to establish clear calls to action.\n\nI am amazed at how few website owners can name their calls to action. However, I am even more staggered at how few web designers ask about them.\n\nCalls to action are not just limited to ecommerce sites. Whether you are asking people to sign up for a newsletter or complete a contact us form, every site should have a desired objective for users.\n\nWhat is more, each page of a site should have micro calls to action that always draw users on and never leave them at a dead end.\n\nWithout clearly defined calls to action you cannot successfully design a site, structure the user experience or measure its success. They bring focus to the site and encourage the client to concentrate their efforts on helping people reach those goals.\n\nOf course in order to know if a call to action is going to work, it is necessary to do some user testing.\n\nTest against the right tasks\n\nAs web designers we all like to boast about being \u02bbuser centric\u02bc whatever that means! However, in reality I think many of us are paying lip service to the subject.\n\nSure, we ask our clients about who their users are and maybe even do some usability testing. However, usability testing is no good if we are not asking the right questions.\n\nAgain we find ourselves working on a superficial level rather than tackling the deeper issues.\n\nClients find it relatively easy to tell you who their target audience is. Admittedly the list they come back with is often overly long and contains a lot of edge cases. However, where they begin to struggle is articulating what these users will want to achieve on the website. They know who they want to reach. However, they cannot always tell you why those people would be interested in the site.\n\nThese user tasks are another fundamental building block for any successful website. Although it is important for a website owner to understand what their objectives are and what they want users to do, it is even more important that they understand the users objectives as well.\n\nAgain, this provides context for the decisions they are making about design, usability and functionality. Without it the site will become self serving, largely ignoring the needs of users.\n\nUser tasks help to focus the client\u02bcs mind on the needs of their user, rather than what they can get out of them.\n\nSo am I claiming that design, usability and code do not matter? Well the shocking truth is that to some extent I am!\n\nThe shocking truth\n\nWhether we like it or not there is significant evidence that you can create a successful website with bad design, terrible code and without ever running a usability test session.\n\nYou only need to look at the design of Craigslist or the code of Amazon to see that this is true.\n\nHowever, I do not believe it is possible to build a successful website without business objectives, calls to action and a clear idea of user tasks.\n\nDo not misunderstand me. I do believe design, usability and code matters. I just believe that they only matter if the fundamentals are already in place. These things improve a solid foundation but are no use in their own right.\n\nAs web designers it is our responsibility to ensure fundamental questions are being asked, before we start exploring other issues. If we do not, our websites will look great, be well coded and have gone through endless usability tests, however it will not be truly successful.", "year": "2009", "author": "Paul Boag", "author_slug": "paulboag", "published": "2009-12-04T00:00:00+00:00", "url": "https://24ways.org/2009/what-makes-a-website-successful/", "topic": "business"}
{"rowid": 181, "title": "Working With RGBA Colour", "contents": "When Tim and I were discussing the redesign of this site last year, one of the clear goals was to have a graphical style without making the pages heavy with a lot of images. When we launched, a lot of people were surprised that the design wasn\u2019t built with PNGs. Instead we\u2019d used RGBA colour values, which is part of the CSS3 specification.\n\nWhat is RGBA Colour?\n\nWe\u2019re all familiar with specifying colours in CSS using by defining the mix of red, green and blue light required to achieve our tone. This is fine and dandy, but whatever values we specify have one thing in common \u2014 the colours are all solid, flat, and well, a bit boring.\n\n Flat RGB colours\n\nCSS3 introduces a couple of new ways to specify colours, and one of those is RGBA. The A stands for Alpha, which refers to the level of opacity of the colour, or to put it another way, the amount of transparency. This means that we can set not only the red, green and blue values, but also control how much of what\u2019s behind the colour shows through. Like with layers in Photoshop.\n\nDon\u2019t We Have Opacity Already?\n\nThe ability to set the opacity on a colour differs subtly from setting the opacity on an element using the CSS opacity property. Let\u2019s look at an example.\n\nHere we have an H1 with foreground and background colours set against a page with a patterned background.\n\n Heading with no transparency applied\n\nh1 {\n\tcolor: rgb(0, 0, 0);\n\tbackground-color: rgb(255, 255, 255);\n}\n\nBy setting the CSS opacity property, we can adjust the transparency of the entire element and its contents:\n\n Heading with 50% opacity on the element\n\nh1 {\n\tcolor: rgb(0, 0, 0);\n\tbackground-color: rgb(255, 255, 255);\n\topacity: 0.5;\n}\n\nRGBA colour gives us something different \u2013 the ability to control the opacity of the individual colours rather than the entire element. So we can set the opacity on just the background:\n\n 50% opacity on just the background colour\n\nh1 {\n\tcolor: rgb(0, 0, 0);\n\tbackground-color: rgba(255, 255, 255, 0.5);\n}\n\nOr leave the background solid and change the opacity on just the text:\n\n 50% opacity on just the foreground colour\n\nh1 {\n\tcolor: rgba(0, 0, 0, 0.5);\n\tbackground-color: rgb(255, 255, 255);\n}\n\nThe How-To\n\nYou\u2019ll notice that above I\u2019ve been using the rgb() syntax for specifying colours. This is a bit less common than the usual hex codes (like #FFF) but it makes sense when starting to use RGBA. As there\u2019s no way to specify opacity with hex codes, we use rgba() like so:\n\ncolor: rgba(255, 255, 255, 0.5);\n\nJust like rgb() the first three values are red, green and blue. You can specify these 0-255 or 0%-100%. The fourth value is the opacity level from 0 (completely transparent) to 1 (completely opaque).\n\nYou can use this anywhere you\u2019d normally set a colour in CSS \u2014 so it\u2019s good for foregrounds and background, borders, outlines and so on. All the transparency effects on this site\u2019s current design are achieved this way.\n\nSupporting All Browsers\n\nLike a lot of the features we\u2019ll be looking at in this year\u2019s 24 ways, RGBA colour is supported by a lot of the newest browsers, but not the rest. Firefox, Safari, Chrome and Opera browsers all support RGBA, but Internet Explorer does not.\n\nFortunately, due to the robust design of CSS as a language, we can specify RGBA colours for browsers that support it and an alternative for browsers that do not.\n\nFalling back to solid colour\n\nThe simplest technique is to allow the browser to fall back to using a solid colour when opacity isn\u2019t available. The CSS parsing rules specify that any unrecognised value should be ignored. We can make use of this because a browser without RGBA support will treat a colour value specified with rgba() as unrecognised and discard it.\n\nSo if we specify the colour first using rgb() for all browsers, we can then overwrite it with an rgba() colour for browsers that understand RGBA.\n\nh1 {\n\tcolor: rgb(127, 127, 127);\n\tcolor: rgba(0, 0, 0, 0.5);\n}\n\nFalling back to a PNG\n\nIn cases where you\u2019re using transparency on a background-color (although not on borders or text) it\u2019s possible to fall back to using a PNG with alpha channel to get the same effect. This is less flexible than using CSS as you\u2019ll need to create a new PNG for each level of transparency required, but it can be a useful solution.\n\nUsing the same principal as before, we can specify the background in a style that all browsers will understand, and then overwrite it in a way that browsers without RGBA support will ignore.\n\nh1 {\n\tbackground: transparent url(black50.png);\n\tbackground: rgba(0, 0, 0, 0.5) none;\n}\n\nIt\u2019s important to note that this works because we\u2019re using the background shorthand property, enabling us to set both the background colour and background image in a single declaration. It\u2019s this that enables us to rely on the browser ignoring the second declaration when it encounters the unknown rgba() value.\n\nNext Steps\n\nThe really great thing about RGBA colour is that it gives us the ability to create far more graphically rich designs without the need to use images. Not only does that make for faster and lighter pages, but sites which are easier and quicker to build and maintain. CSS values can also be changed in response to user interaction or even manipulated with JavaScript in a way that\u2019s just not so easy using images.\n\n Opacity can be changed on :hover or manipulated with JavaScript\n\ndiv {\n\tcolor: rgba(255, 255, 255, 0.8);\n\tbackground-color: rgba(142, 213, 87, 0.3);\n}\ndiv:hover {\n\tcolor: rgba(255, 255, 255, 1);\n\tbackground-color: rgba(142, 213, 87, 0.6);\n}\n\nClever use of transparency in border colours can help ease the transition between overlay items and the page behind.\n\n Borders can receive the RGBA treatment, too\n\ndiv {\n\tcolor: rgb(0, 0, 0);\n\tbackground-color: rgb(255, 255, 255);\n\tborder: 10px solid rgba(255, 255, 255, 0.3);\n}\n\nIn Conclusion\n\n\nThat\u2019s a brief insight into RGBA colour, what it\u2019s good for and how it can be used whilst providing support for older browsers. With the current lack of support in Internet Explorer, it\u2019s probably not a technique that commercial designs will want to heavily rely on right away \u2013 simply because of the overhead of needing to think about fallback all the time. \n\nIt is, however, a useful tool to have for those smaller, less critical touches that can really help to finesse a design. As browser support becomes more mainstream, you\u2019ll already be familiar and practised with RGBA and ready to go.", "year": "2009", "author": "Drew McLellan", "author_slug": "drewmclellan", "published": "2009-12-01T00:00:00+00:00", "url": "https://24ways.org/2009/working-with-rgba-colour/", "topic": "code"}
{"rowid": 227, "title": "A Contentmas Epiphany", "contents": "The twelve days of Christmas fall between 25 December, Christmas Day, and 6 January, the Epiphany of the Kings. Traditionally, these have been holidays and a lot of us still take a good proportion of these days off. Equally, a lot of us have a got a personal site kicking around somewhere that we sigh over and think, \u201cOne day I\u2019ll sort you out!\u201d Why not take this downtime to give it a big ol\u2019 refresh? I know, good idea, huh?\n\nHEY WAIT! WOAH! NO-ONE\u2019S TOUCHING PHOTOSHOP OR DOING ANY CSS FANCYWORK UNTIL I\u2019M DONE WITH YOU!\n\nBe honest, did you immediately think of a sketch or mockup you have tucked away? Or some clever little piece of code you want to fiddle with? Now ask yourself, why would you start designing the container if you haven\u2019t worked out what you need to put inside?\n\nAnyway, forget the content strategy lecture; I haven\u2019t given you your gifts yet.\nI present The Twelve Days of Contentmas!\n\nThis is a simple little plan to make sure that your personal site, blog or portfolio is not just looking good at the end of these twelve days, but is also a really useful repository of really useful content.\n\nWARNING KLAXON: There are twelve parts, one for each day of Christmas, so this is a lengthy article. I\u2019m not expecting anyone to absorb this in one go. Add to Instapaper. There is no TL;DR for this because it\u2019s a multipart process, m\u2019kay? Even so, this plan of mine cuts corners on a proper applied strategy for content. You might find some aspects take longer than the arbitrary day I\u2019ve assigned. And if you apply this to your company-wide intranet, I won\u2019t be held responsible for the mess.\n\nThat said, I encourage you to play along and sample some of the practical aspects of organising existing content and planning new content because it is, honestly, an inspiring and liberating process. For one thing, you get to review all the stuff you have put out for the world to look at and see what you could do next. This always leaves me full of ideas on how to plug the gaps I\u2019ve found, so I hope you are similarly motivated come day twelve.\n\nLet\u2019s get to it then, shall we?\n\nOn the first day of Contentmas, Relly gave to me:\n\n1. A (partial) content inventory\n\nI\u2019m afraid being a site owner isn\u2019t without its chores. With great power comes great responsibility and all that. There are the domain renewing, hosting helpline calls and, of course, keeping on top of all the content that you have published.\n\nIf you just frowned a little and thought, \u201cWell, there\u2019s articles and images and\u2026 stuff\u201d, then I\u2019d like to introduce you to the idea of a content inventory. \n\nA content inventory is a list of all your content, in a simple spreadsheet, that allows you to see at a glance what is currently on your site: articles; about me page; contact form, and so on.\n\nYou add the full URL so that you can click directly to any page listed. You add a brief description of what it is and what tags it has. In fact, I\u2019ll show you. I\u2019ve made a Google Docs template for you. Sorry, it isn\u2019t wrapped.\n\nDoes it seem like a mammoth task? Don\u2019t feel you have to do this all in one day. But do do it. For one thing, looking back at all the stuff you\u2019ve pushed out into the world gives you a warm fuzzy feeling which keeps the heating bill down.\n\nGrab a glass of mulled cider and try going month-by-month through your blog archives, or project-by-project through your portfolio. Do a little bit each day for the next twelve days and you\u2019ll have done something awesome. The best bit is that this exploration of your current content helps you with the next day\u2019s task.\n\nBonus gift: for more on content auditing and inventory, check out Jeff Veen\u2019s article on just this topic, which is also suitable for bigger business sites too.\n\nOn the second day of Contentmas, Relly gave to me:\n\n2. Website loves\n\nRemember when you were a kid, you\u2019d write to Santa with a wish list that would make your parents squirm, because your biggest hope for your stocking would be either impossible or impossibly expensive. Do you ever get the same thing now as a grown-up where you think, \u201cWouldn\u2019t it be great if I could make a video blog every week\u201d, or \u201cI could podcast once a month about this\u201d, and then you push it to the back of your mind, assuming that you won\u2019t have time or you wouldn\u2019t know what to talk about anyway?\n\nTrue fact: content doesn\u2019t just have to be produced when we are so incensed that we absolutely must blog about a topic. Neither does it have to be a drain to a demanding schedule. You can plan for it. In fact, you\u2019re about to.\n\nSo, today, get a pen and a notebook. Move away from your computer. My gift to you is to grab a quiet ten minutes between turkey sandwiches and relatives visiting and give your site some of the attention it deserves for 2011.\n\nWhat would you do with your site if you could? I don\u2019t mean what would you do purely visually \u2013 although by all means note those things down too \u2013 but to your site as a whole. Here are some jumping off points:\n\n\n\tWould you like to individually illustrate and design some of your articles?\n\tWhat about a monthly exploration of your favourite topic through video or audio?\n\tWho would you like to collaborate with?\n\tWhat do you want your site to be like for a user?\n\tWhat tone of voice would you like to use?\n\tHow could you use imagery and typography to support your content?\n\tWhat would you like to create content about in the new year?\n\n\nIt\u2019s okay if you can\u2019t do these things yet. It\u2019s okay to scrub out anything where you think, \u201cNah, never gonna happen.\u201d But do give some thought to what you might want to do next. The best inspiration for this comes from what you\u2019ve already done, so keep on with that inventory.\n\nBonus gift: a Think Vitamin article on podcasting using Skype, so you can rope in a few friends to join in, too.\n\nOn the third day of Contentmas, Relly gave to me:\n\n3. Red pens\n\nShock news, just in: the web is not print!\n\nOne of the hardest things as a writer is to reach the point where you say, \u201cYeah, okay, that\u2019s it. I\u2019m done\u201d and send off your beloved manuscript or article to print. I\u2019m convinced that if deadlines didn\u2019t exist, nothing would get finished. Why? Well, at the point you hand it over to the publishing presses, you can make no more changes. At best, you can print an erratum or produce an updated second edition at a later date. And writers love to \u2013 no, they live to \u2013 tweak their creations, so handing them over is quite a struggle. Just one more comma and\u2026\n\nOnline, we have no such constraints. We can edit, correct, test, tweak, twiddle until we\u2019re blooming sick of it. Our red pens never run out of ink. It is time for you to run a more critical eye over your content, especially the stuff already published. Relish in the opportunity to change stuff on the fly. I am not so concerned by blog articles and such (although feel free to apply this concept to those, too), but mainly by your more concrete content: about pages; contact pages; home page navigation; portfolio pages; 404 pages.\n\nNow, don\u2019t go running amok with the cut function yet. First, put all these evergreen pages into your inventory. In the notes section, write a quick analysis of how useful this copy is. Example questions:\n\n\n\tIs your contact page up-to-date?\n\tDoes your about page link to the right places?\n\tIs your portfolio current?\n\tDoes your 404 page give people a way to find what they were looking for?\n\n\nWe\u2019ll come back to this in a few days once we have a clearer idea of how to improve our content.\n\nBonus gift: the audio and slides of a talk I gave on microcopy and 404 pages at @media WebDirections last year.\n\nOn the fourth day of Contentmas, Relly gave to me:\n\n4. Stalling nerds\n\nActually, I guess more accurately this is something I get given a lot. Designers and developers particularly can find a million ways to extract themselves from the content of a site but, as the site owner,  and this being your personal playground and all, you mustn\u2019t. You actually can\u2019t, sorry. \n\nBut I do understand that at this point, \u2018sorting out your site\u2019 suddenly seems a lot less exciting, especially if you are a visually-minded person and words and lists aren\u2019t really your thing. So far, there has been a lot of not-very-exciting exercises in planning, and there\u2019s probably a nice pile of DVDs and video games that you got from Santa worth investigating. \n\nStay strong my friend. By now, you have probably hit upon an idea of some sort you are itching to start on, so for every half-hour you spend doing inventory, gift yourself another thirty minutes to play with that idea.\n\nBonus gift: the Pomodoro Technique. Take one kitchen timer and a to-do list and see how far you can go.\n\nOn the fifth day of Contentmas, Relly gave to me:\n\n5. Golden rules\n\nHere are some guidelines for writing online:\n\n\n\tMake headlines for tutorials and similar content useful and descriptive; use a subheading for any terrible pun you want to work in.\n\n\n\n\tCreate a broad opening paragraph that addresses what your article is about. Part of the creative skill in writing is to do this in a way that both informs the reader and captures their attention. If you struggle with this, consider a boxout giving a summary of the article.\n\n\n\n\tUse headings to break up chunks of text and allow people to scan. Most people will have a scoot about an article before starting at the beginning to give it a proper read. These headings should be equal parts informative and enticing. Try them out as questions that might be posed by the reader too.\n\n\n\n\tFinish articles by asking your reader to take an affirmative action: subscribe to your RSS feed; leave a comment (if comments are your thing \u2013 more on that later); follow you on Twitter; link you to somewhere they have used your tutorial or code. The web is about getting excited, making things and sharing with others, so give your readers the chance to do that.\n\n\n\n\tFor portfolio sites, this call to action is extra important as you want to pick up new business. Encourage people to e-mail you or call you \u2013 don\u2019t just rely on a number in the footer or an e-mail link at the top. Think up some consistent calls-to-action you can use and test them out.\n\n\nSo, my gift to you today is a simplified page table for planning out your content to make it as useful as possible.\n\nFeel free to write a new article or tutorial, or work on that great idea from yesterday and try out these guidelines for yourself. \n\nIt\u2019s a simple framework \u2013 good headline; broad opening; headings to break up volume; strong call to action \u2013 but it will help you recognise if what you\u2019ve written is in good shape to face the world. It doesn\u2019t tell you anything about how to create it \u2013 that\u2019s your endeavour \u2013 but it does give you a start. No more staring at a blank page.\n\nBonus gift: okay, you have to buy yourself this one, but it is the gift that keeps on giving: Ginny Reddish\u2019s Letting Go of the Words \u2013 the hands down best guide to web writing there is, with a ton of illustrative examples.\n\nOn the sixth day of Contentmas, Relly gave to me:\n\n6. Foundation-a-laying\n\nYesterday, we played with a page table for articles. Today, we are going to set the foundations for your new, spangly, spruced up, relaunched site (for when you\u2019re ready, of course). We\u2019ve checked out what we\u2019ve got, we\u2019ve thought about what we\u2019d like, we have a wish list for the future. Now is the time for a small reality check. \n\nBe realistic with yourself. Can you really give your site some attention every day? Record a short snippet of audio once a week? A photo diary post once a month? Look back at the wish list you made.\n\n\n\tWhat can you do?\n\tWhat can you aim for?\n\tWhat just isn\u2019t possible right now?\n\n\nAs much as we\u2019d all love to be producing a slick video podcast and screencast three times a week, it\u2019s better to set realistic expectations and work your way up.\n\nWhere does your site sit in your online world?\n\n\n\tDo you want it to be the hub of all your social interactions, a lifestream, a considered place of publication or a free for all?\n\tDo you want to have comments (do you have the personal resource to monitor comments?) or would you prefer conversation to happen via Twitter, Facebook or not at all?\n\tDoes this apply to all pages, posts and content types or just some?\n\tGet these things straight in your head and it\u2019s easier to know what sort of environment you want to create and what content you\u2019ll need to sustain it.\n\n\nGet your notebook again and think about specific topics you\u2019d like to cover, or aspects of a project you want to go into more, and how you can go ahead and do just that. A good motivator is to think what you\u2019ll get out of doing it, even if that is \u201cAnd I\u2019ll finally show the poxy $whatever_community that my $chosen_format is better than their $other_format.\u201d\n\nWhat topics have you really wanted to get off your chest? Look through your inventory again. What gaps are there in your content just begging to be filled?\n\nToday, you\u2019re going to give everyone the gift of your opinion. Find one of those things where someone on the internet is wrong and create a short but snappy piece to set them straight. Doesn\u2019t that feel good? Soon you\u2019ll be able to do this in a timely manner every time someone is wrong on the internet!\n\nBonus gift: we\u2019re halfway through, so I think something fun is in order. How about a man sledding naked down a hill in Brighton on a tea tray? Sometimes, even with a whole ton of content planning, it\u2019s the spontaneous stuff that is still the most fun to share.\n\nOn the seventh day of Contentmas, Relly gave to me:\n\n7. Styles-a-guiding\n\nNot colour style guides or brand style guides or code style guides. Content style guides. You could go completely to town and write yourself a full document defining every aspect of your site\u2019s voice and personality, plus declaring your view on contracted phrases and the Oxford comma, but this does seem a tad excessive. Unless you\u2019re writing an entire site as a fictional character, you probably know your own voice and vocabulary better than anyone. It\u2019s in your head, after all.\n\nInstead, equip yourself with a good global style guide (I like the Chicago Manual of Style because I can access it fully online, but the Associated Press (AP) Stylebook has a nifty iPhone app and, if I\u2019m entirely honest, I\u2019ve found a copy of Eats, Shoots and Leaves has set me right on all but the most technical aspects of punctuation). Next, pick a good dictionary and bookmark thesaurus.com. Then have a go at Kristina Halvorson\u2019s \u2018Voice and Tone\u2019 exercise from her book Content Strategy for the Web, to nail down what you\u2019d like your future content to be like:\n\nTo introduce the voice and tone qualities you\u2019re [looking to create], a good approach is to offer contrasting values. For example:\n\n\n\tProfessional, not academic.\n\tConfident, not arrogant.\n\tClever, not cutesy.\n\tSavvy, not hipster.\n\tExpert, not preachy.\n\n\n\nTake a look around some of your favourite sites and examine the writing and stylistic handling of content. What do you like? What do you want to emulate? What matches your values list?\n\nToday\u2019s gift to you is an idea. Create a \u2018swipe file\u2019 through Evernote or Delicious and save all the stuff you come across that, regardless of topic, makes you think, \u201cThat\u2019s really cool.\u201d This isn\u2019t the same as an Instapaper list you\u2019d like to read. This is stuff you have read or have seen that is worth looking at in closer detail.\n\n\n\tWhy is it so good?\n\tWhat is the language and style like?\n\tWhat impact does the typography have?\n\tHow does the imagery work to enhance the message?\n\n\nThis isn\u2019t about creating a personal brand or any such piffle. It\u2019s about learning to recognise how good content works and how to create something awesome yourself. Obviously, your ideas are brilliant, so take the time to understand how best to spring them on the unsuspecting public for easier world domination.\n\nBonus gift: a nifty style guide is a must when you do have to share content creation duties with others. Here is Leeds University\u2019s publicly available PDF version for you to take a gander at. I especially like the Rationale sections for chopping off dissenters at the knees. \n\nOn the eighth day of Contentmas, Relly gave to me:\n\n8. Times-a-making\n\nYou have an actual, real plan for what you\u2019d like to do with your site and how it is going to sound (and probably some ideas on how it\u2019s going to look, too). I hope you are full of enthusiasm and Getting Excited To Make Things. Just before we get going and do exactly that, we are going to make sure we have made time for this creative outpouring.\n\nHave you tried to blog once a week before and found yourself losing traction after a month or two? Are there a couple of podcasts lurking neglected in your archives? Whereas half of the act of running is showing up for training, half of creating is making time rather than waiting for it to become urgent. It\u2019s okay to write something and set a date to come back to it (which isn\u2019t the same as leaving it to decompose in your drafts folder).\n\nPutting a date in your calendar to do something for your site means that you have a forewarning to think of a topic to write about, and space in your schedule to actually do it. Crucially, you\u2019ve actually made some time for this content lark.\n\nTo do this, you need to think about how long it takes to get something out of the door/shipped/published/whatever you want to call it. It might take you just thirty minutes to record a podcast, but also a further hour to research the topic beforehand and another hour to edit and upload the clips. Suddenly, doing a thirty minute podcast every day seems a bit unlikely. But, on the flipside, it is easy to see how you could schedule that in three chunks weekly. \n\nPut it in your calendar. Do it, publish it, book yourself in for the next week. Keep turning up.\n\nToday my gift to you is the gift of time. Set up your own small content calendar, using your favourite calendar system, and schedule time to play with new ways of creating content, time to get it finished and time to get it on your site. Don\u2019t let good stuff go to your drafts folder to die of neglect.\n\nBonus gift: lots of writers swear by the concept of \u2018daily pages\u2019. That is, churning out whatever is in your head to see if there is anything worth building upon, or just to lose the grocery list getting in the way. 750words.com is a site built around this concept. Go have a play.\n\nOn the ninth day of Contentmas, Relly gave to me:\n\n9. Copy enhancing\n\nAn incredibly radical idea for day number nine. We are going to look at that list of permanent pages you made back on day three and rewrite the words first, before even looking at a colour palette or picking a font! Crazy as it sounds, doing it this way round could influence your design. It could shape the imagery you use. It could affect your choice of typography. IMAGINE THE POSSIBILITIES!\n\nLook at the page table from day five. Print out one for each of your homepage, about page, contact page, portfolio, archive, 404 page or whatever else you have. Use these as a place to brainstorm your ideas and what you\u2019d like each page to do for your site. Doodle in the margin, choose words you think sound fun to say, daydream about pictures you\u2019d like to use and colours you think would work, but absolutely, completely and utterly fill in those page tables to understand how much (or how little) content you\u2019re playing with and what you need to do to get to \u2018launch\u2019.\n\nThen, use them for guidance as you start to write. Don\u2019t skimp. Don\u2019t think that a fancy icon of an envelope encourages people to e-mail you. Use your words.\n\nPeople get antsy at this bit. Writing can be hard work and it\u2019s easy for me to say, \u201cGo on and write it then!\u201d I know this. I mean, you should see the faces I pull when I have to do anything related to coding. The closest equivalent would be when scientists have to stick their hands in big gloves attached to a glass box to do dangerous experiments.\n\nHere\u2019s today\u2019s gift, a little something about writing that I hope brings you comfort: \n\n\n\tTo write something fantastic you almost always have to write a rubbish draft first.\n\n\nNow, you might get lucky and write a \u2018good enough\u2019 draft first time and that\u2019s fab \u2013 you\u2019ve cut some time getting to \u2018fantastic\u2019. If, however, you\u2019ve always looked at your first attempt to write more than the bare minimum and sighed in despair, and resigned yourself to adding just a title, date and a screenshot, be cheered because you have taken the first step to being able to communicate with clarity, wit and panache.\n\nKeep going. Look at writing you admire and emulate it. Think about how you will lovingly design those words when they are done. Know that you can go back and change them. Check back with your page table to keep you on track. Do that first draft.\n\nBonus gift: becoming a better writer helps you to explain design concepts to clients.\n\nOn the tenth day of Contentmas, Relly gave to me:\n\n10. Ideas for keeping\n\nHurrah! You have something down on paper, ready to start evolving your site around it. Here\u2019s where the words and visuals and interaction start to come together. Because you have a plan, you can think ahead and do things you wouldn\u2019t be able to pull together otherwise.\n\n\n\tHow about finding a fresh-faced stellar illustrator on Dribbble to create you something perfect to pep up your contact page or visualize your witty statement on statements of work. A List Apart has been doing it for years and it hasn\u2019t worked out too badly for them, has it?\n\n\n\n\tWhat about spending this month creating a series of introductory tutorials on a topic, complete with screencasts and audio and give them a special home on your site?\n\n\n\n\tHow about putting in some hours creating a glorious about me page, with a biography, nice picture, and where you spend your time online?\n\n\n\n\tYou could even do the web equivalent of getting up in the attic and sorting out your site\u2019s search to make it easier to find things in your archives. Maybe even do some manual recommendations for relevant content and add them as calls to action.\n\n\n\n\tHow about writing a few awesome case studies with individual screenshots of your favourite work, and creating a portfolio that plays to your strengths? Don\u2019t just rely on the pretty pictures; use your words. Otherwise no-one understands why things are the way they are on that screenshot and BAM! you\u2019ll be judged on someone else\u2019s tastes. (Elliot has a head start on you for this, so get to it!)\n\n\n\n\tDo you have a serious archive of content? What\u2019s it like being a first-time visitor to your site? Could you write them a guide to introduce yourself and some of the most popular stuff on your site? Ali Edwards is a massively popular crafter and every day she gets new visitors who have found her multiple papercraft projects on Flickr, Vimeo and elsewhere, so she created a welcome guide just for them.\n\n\n\n\tWhat about your microcopy? Can you improve on your blogging platform\u2019s defaults for search, comment submission and labels? I\u2019ll bet you can.\n\n\n\n\tMaybe you could plan a collaboration with other like-minded souls. A week of posts about the more advanced wonders of HTML5 video. A month-long baton-passing exercise in extolling the virtues of IE (shut up, it could happen!). Just spare me any more online advent calendars.\n\n\n\n\tWatch David McCandless\u2019s TED talk on his jawdropping infographic work and make something as awesome as the Billion Dollar O Gram. I dare you.\n\n\nBonus gift: Grab a copy of Brian Suda\u2019s Designing with Data, in print or PDF if Santa didn\u2019t put one in your stocking, and make that awesome something with some expert guidance.\n\nOn the eleventh day of Contentmas, Relly gave to me:\n\n11. Pixels pushing\n\nOh, go on then. Make a gorgeous bespoke velvet-lined container for all that lovely content. It\u2019s proper informed design now, not just decoration. Mr. Zeldman says so.\n\nBonus gift: I made you a movie! If books were designed like websites.\n\nOn the twelfth day of Contentmas, Relly gave to me:\n\n12. Delighters delighting\n\nThe Epiphany is upon us; your site is now well on its way to being a beautiful, sustainable hub of content and you have a date in your calendar to help you keep that resolution of blogging more. What now?\n\n\n\tKeep on top of your inventory. One day it will save your butt, I promise.\n\tKeep making a little bit of time regularly to create something new: an article; an opinion piece; a small curation of related links; a photo diary; a new case study. That\u2019s easier than an annual content bootcamp for sure.\n\tAnd today\u2019s gift: look for ways to play with that content and make something a bit special. Stretch yourself a little. It\u2019ll be worth it.\n\n\nBonus gift: Paul Annett\u2019s presentation on Ooh, that\u2019s clever: Delighters in design from SxSW 09.\n\nAll my favourite designers and developers have their own unique styles and touches. It\u2019s what sets them apart. My very, very favourites have an eloquence and expression that they bring to their sites and to their projects. I absolutely love to explore a well-crafted, well-written site \u2013 don\u2019t we all? I know the time it takes. I appreciate the time it takes. But the end results are delicious. Do please share your spangly, refreshed sites with me in the comments.\n\nCatch me on Twitter, I\u2019m @RellyAB, and I\u2019ve been your host for these Twelve Days of Contentmas.", "year": "2010", "author": "Relly Annett-Baker", "author_slug": "rellyannettbaker", "published": "2010-12-21T00:00:00+00:00", "url": "https://24ways.org/2010/a-contentmas-epiphany/", "topic": "content"}
{"rowid": 217, "title": "Beyond Web Mechanics \u2013 Creating Meaningful Web Design", "contents": "It was just over three years ago when I embarked on becoming a web designer, and the first opinion piece about the state of web design I came across was a conference talk by Elliot Jay Stocks called \u2018Destroy the Web 2.0 Look\u2019. Elliot\u2019s presentation was a call to arms, a plea to web designers the world over to stop the endless reproductions of the so called \u2018Web 2.0 look\u2019.\n\nThree and a half years on from Elliot\u2019s talk, what has changed? Well, from an aesthetic standpoint, not a whole lot. The Web 2.0 look has evolved, but it\u2019s still with us and much of the web remains filled with cookie cutter websites that bear a striking resemblance to one another. This wouldn\u2019t matter so much if these websites were selling comparable services or products, but they\u2019re not. They look similar, they follow the same web design trends; their aesthetic style sends out a very similar message, yet they\u2019re selling completely different services or products. How can you be communicating effectively with your users when your online book store is visually indistinguishable from an online cosmetic store? This just doesn\u2019t make sense. \n\nI don\u2019t want to belittle the current version of the Web 2.0 look for the sake of it. I want to talk about the opportunity we have as web designers to create more meaningful experiences for the people using our websites. Using design wisely gives us the ability to communicate messages, ideas and attitudes that our users will understand and connect with.\n\nBeing human\n\nAs human beings we respond emotionally to everything around us \u2013 people, objects, posters, packaging or websites. We also respond in different ways to different kinds of aesthetic design and style. We care about style and aesthetics deeply, whether we realise it or not. Aesthetic design has the power to attract or repel. We often make decisions based purely on aesthetics and style \u2013 and don\u2019t retailers the world over know it! We connect attitudes and strongly held beliefs to style. Individuals will proudly associate themselves with a certain style or aesthetic because it\u2019s an expression of who they are. You know that old phrase, \u2018Don\u2019t judge a book by its cover\u2019?  Well, the problem is that people do, so it\u2019s important we get the cover right.\n\nMuch is made of how to structure web pages, how to create a logical information hierarchy, how to use layout and typography to clearly communicate with your users. It\u2019s important, however, not to mistake clarity of information or legibility with getting your message across. Few users actually read websites word by word: it\u2019s far more likely they\u2019ll just scan the page. If the page is copy-heavy and nothing grabs their attention, they may well just move on. This is why it\u2019s so important to create a visual experience that actually means something to the user. \n\nMeaningful design\n\nWhen we view a poster or website, we make split-second assessments and judgements of what is in front of us. Our first impressions of what a website does or who it is aimed at are provoked by the style and aesthetic of the website. For example, with clever use of colour, typography, graphic design and imagery we can communicate to users that an organisation is friendly, edgy, compassionate, fun or environmentally conscious.\n\nUsing a certain aesthetic we can convey the personality of that organisation, target age ranges, different sexes or cultural groups, communicate brand attributes, and more. We can make our users feel like they\u2019re part of something and, perhaps even more importantly, we can make new users want to be a part of something. And we can achieve all this before the user has read a single word. \n\nBy establishing a website\u2019s aesthetic and creating a meaningful visual language, a design is no longer just a random collection of pretty gradients that have been plucked out of thin air. There can be a logic behind the design decisions we make. So, before you slap another generic piece of ribbon or an ultra shiny icon into the top-left corner of your website, think about why you are doing it. If you can\u2019t come up with a reason better than \u201cI saw it on another website\u201d, it\u2019s probably a poor application of style.\n\nDesign and style\n\nThere are a number of reasons why the web suffers from a lack meaningful design. Firstly, there are too many preconceptions of what a website should look like. It\u2019s too easy for designers to borrow styles from other websites, thereby limiting the range of website designs we see on the web. Secondly, many web designers think of aesthetic design as of secondary importance, which shouldn\u2019t be the case. Designing websites that are accessible and easy to use is, of course, very important but this is the very least a web designer should be delivering. Easy to use websites should come as standard \u2013 it\u2019s equally important to create meaningful, compelling and beautiful experiences for everyone who uses our websites. The aesthetics of your site are part of the design, and to ignore this and play down the role of aesthetic design is just a wasted opportunity. \n\nNo compromise necessary\n\nEasy to use, accessible websites and beautiful, meaningful aesthetics are not mutually exclusive. The key is to apply style and aesthetic design appropriately. We need to think about who and what we\u2019re designing for and ask ourselves why we\u2019re applying a certain kind of aesthetic style to our design. If you do this, there\u2019s no reason why effective, functional design should come at the expense of jaw-dropping, meaningful aesthetics.\n\nWeb designers need to understand the differences between functional design and aesthetic design but, even more importantly, they need to know how to make them work together.  It\u2019s combining these elements of design successfully that makes for the best web design in the world.", "year": "2010", "author": "Mike Kus", "author_slug": "mikekus", "published": "2010-12-05T00:00:00+00:00", "url": "https://24ways.org/2010/beyond-web-mechanics-creating-meaningful-web-design/", "topic": "design"}
{"rowid": 223, "title": "Calculating Color Contrast", "contents": "Some websites and services allow you to customize your profile by uploading pictures, changing the background color or other aspects of the design. As a customer, this personalization turns a web app into your little nest where you store your data. As a designer, letting your customers have free rein over the layout and design is a scary prospect. So what happens to all the stock text and images that are designed to work on nice white backgrounds? Even the Mac only lets you choose between two colors for the OS, blue or graphite! Opening up the ability to customize your site\u2019s color scheme can be a recipe for disaster unless you are flexible and understand how to find maximum color contrasts.\n\nIn this article I will walk you through two simple equations to determine if you should be using white or black text depending on the color of the background. The equations are both easy to implement and produce similar results. It isn\u2019t a matter of which is better, but more the fact that you are using one at all! That way, even with the craziest of Geocities color schemes that your customers choose, at least your text will still be readable.\n\nLet\u2019s have a look at a range of various possible colors. Maybe these are pre-made color schemes, corporate colors, or plucked from an image.\n\n\n\nNow that we have these potential background colors and their hex values, we need to find out whether the corresponding text should be in white or black, based on which has a higher contrast, therefore affording the best readability. This can be done at runtime with JavaScript or in the back-end before the HTML is served up.\n\nThere are two functions I want to compare. The first, I call \u201950%\u2019. It takes the hex value and compares it to the value halfway between pure black and pure white. If the hex value is less than half, meaning it is on the darker side of the spectrum, it returns white as the text color. If the result is greater than half, it\u2019s on the lighter side of the spectrum and returns black as the text value.\n\nIn PHP:\n\nfunction getContrast50($hexcolor){\n    return (hexdec($hexcolor) > 0xffffff/2) ? 'black':'white';\n}\n\nIn JavaScript:\n\nfunction getContrast50(hexcolor){\n    return (parseInt(hexcolor, 16) > 0xffffff/2) ? 'black':'white';\n}\n\nIt doesn\u2019t get much simpler than that! The function converts the six-character hex color into an integer and compares that to one half the integer value of pure white. The function is easy to remember, but is naive when it comes to understanding how we perceive parts of the spectrum. Different wavelengths have greater or lesser impact on the contrast.\n\nThe second equation is called \u2018YIQ\u2019 because it converts the RGB color space into YIQ, which takes into account the different impacts of its constituent parts. Again, the equation returns white or black and it\u2019s also very easy to implement.\n\nIn PHP:\n\nfunction getContrastYIQ($hexcolor){\n\t$r = hexdec(substr($hexcolor,0,2));\n\t$g = hexdec(substr($hexcolor,2,2));\n\t$b = hexdec(substr($hexcolor,4,2));\n\t$yiq = (($r*299)+($g*587)+($b*114))/1000;\n\treturn ($yiq >= 128) ? 'black' : 'white';\n}\n\nIn JavaScript:\n\nfunction getContrastYIQ(hexcolor){\n\tvar r = parseInt(hexcolor.substr(0,2),16);\n\tvar g = parseInt(hexcolor.substr(2,2),16);\n\tvar b = parseInt(hexcolor.substr(4,2),16);\n\tvar yiq = ((r*299)+(g*587)+(b*114))/1000;\n\treturn (yiq >= 128) ? 'black' : 'white';\n}\n\nYou\u2019ll notice first that we have broken down the hex value into separate RGB values. This is important because each of these channels is scaled in accordance to its visual impact. Once everything is scaled and normalized, it will be in a range between zero and 255. Much like the previous \u201950%\u2019 function, we now need to check if the input is above or below halfway. Depending on where that value is, we\u2019ll return the corresponding highest contrasting color.\n\nThat\u2019s it: two simple contrast equations which work really well to determine the best readability.\n\nIf you are interested in learning more, the W3C has a few documents about color contrast and how to determine if there is enough contrast between any two colors. This is important for accessibility to make sure there is enough contrast between your text and link colors and the background.\n\nThere is also a great article by Kevin Hale on Particletree about his experience with choosing light or dark themes. To round it out, Jonathan Snook created a color contrast picker which allows you to play with RGB sliders to get values for YIQ, contrast and others. That way you can quickly fiddle with the knobs to find the right balance.\n\nComparing results\n\nLet\u2019s revisit our color schemes and see which text color is recommended for maximum contrast based on these two equations.\n\n\n\nIf we use the simple \u201950%\u2019 contrast function, we can see that it recommends black against all the colors except the dark green and purple on the second row. In general, the equation feels the colors are light and that black is a better choice for the text.\n\n\n\nThe more complex \u2018YIQ\u2019 function, with its weighted colors, has slightly different suggestions. White text is still recommended for the very dark colors, but there are some surprises. The red and pink values show white text rather than black. This equation takes into account the weight of the red value and determines that the hue is dark enough for white text to show the most contrast.\n\nAs you can see, the two contrast algorithms agree most of the time. There are some instances where they conflict, but overall you can use the equation that you prefer. I don\u2019t think it is a major issue if some edge-case colors get one contrast over another, they are still very readable.\n\nNow let\u2019s look at some common colors and then see how the two functions compare. You can quickly see that they do pretty well across the whole spectrum.\n\n\n\nIn the first few shades of grey, the white and black contrasts make sense, but as we test other colors in the spectrum, we do get some unexpected deviation. Pure red #FF0000 has a flip-flop. This is due to how the \u2018YIQ\u2019 function weights the RGB parts. While you might have a personal preference for one style over another, both are justifiable.\n\n\n\nIn this second round of colors, we go deeper into the spectrum, off the beaten track. Again, most of the time the contrasting algorithms are in sync, but every once in a while they disagree. You can select which you prefer, neither of which is unreadable.\n\nConclusion\n\nContrast in color is important, especially if you cede all control and take a hands-off approach to the design. It is important to select smart defaults by making the contrast between colors as high as possible. This makes it easier for your customers to read, increases accessibility and is generally just easier on the eyes. \n\nSure, there are plenty of other equations out there to determine contrast; what is most important is that you pick one and implement it into your system.\n\nSo, go ahead and experiment with color in your design. You now know how easy it is to guarantee that your text will be the most readable in any circumstance.", "year": "2010", "author": "Brian Suda", "author_slug": "briansuda", "published": "2010-12-24T00:00:00+00:00", "url": "https://24ways.org/2010/calculating-color-contrast/", "topic": "code"}
{"rowid": 237, "title": "Circles of Confusion", "contents": "Long before I worked on the web, I specialised in training photographers how to use large format,  5\u00d74\u2033 and 10\u00d78\u2033 view cameras \u2013 film cameras with swing and tilt movements, bellows and upside down, back to front images viewed on dim, ground glass screens. It\u2019s been fifteen years since I clicked a shutter on a view camera, but some things have stayed with me from those years.\n\nIn photography, even the best lenses don\u2019t focus light onto a point (infinitely small in size) but onto \u2018spots\u2019 or circles in the \u2018film/image plane\u2019. These circles of light have dimensions, despite being microscopically small. They\u2019re known as \u2018circles of confusion\u2019.\n\nAs circles of light become larger, the more unsharp parts of a photograph appear. On the flip side, when circles are smaller, an image looks sharper and more in focus. This is the basis for photographic depth of field and with that comes the knowledge that no photograph can be perfectly focused, never truly sharp. Instead, photographs can only be \u2018acceptably unsharp\u2019. \n\nAcceptable unsharpness is now a concept that\u2019s relevant to the work we make for the web, because often \u2013 unless we compromise \u2013 websites cannot look or be experienced exactly the same across browsers, devices or platforms. Accepting that fact, and learning to look upon these natural differences as creative opportunities instead of imperfections, can be tough. Deciding which aspects of a design must remain consistent and, therefore, possibly require more time, effort or compromises can be tougher. Circles of confusion can help us, our bosses and our customers make better, more informed decisions.\n\nAcceptable unsharpness\n\nMany clients still demand that every aspect of a design should be \u2018sharp\u2019 \u2013 that every user must see rounded boxes, gradients and shadows \u2013 without regard for the implications. I believe that this stems largely from the fact that they have previously been shown designs \u2013 and asked for sign-off \u2013 using static images.\n\nIt\u2019s also true that in the past, organisations have invested heavily in style guides which, while maybe still useful in offline media, have a strictness that often fails to allow for the flexibility that we need to create experiences that are appropriate to a user\u2019s browser or device capabilities.\n\nWe live in an era where web browsers and devices have wide-ranging capabilities, and websites can rarely look or be experienced exactly the same across them. Is a particular typeface vital to a user\u2019s experience of a brand? How important are gradients or shadows? Are rounded corners really that necessary? These decisions determine how \u2018sharp\u2019 an element should be across browsers with different capabilities and, therefore, how much time, effort or extra code and images we devote to achieving consistency between them. To help our clients make those decisions, we can use circles of confusion.\n\nCircles of confusion\n\nUsing circles of confusion involves plotting aspects of a visual design into a series of concentric circles, starting at the centre with elements that demand the most consistency. Then, work outwards, placing elements in order of their priority so that they become progressively \u2018softer\u2019, more defocused as they\u2019re plotted into outer rings.\n\nIf layout and typography must remain consistent, place them in the centre circle as they\u2019re aspects of a design that must remain \u2018sharp\u2019.\n\nWhen gradients are important \u2013 but not vital \u2013 to a user\u2019s experience of a brand, plot them close to, but not in the centre. This makes everyone aware that to achieve consistency, you\u2019ll need to carve out extra images for browsers that don\u2019t support CSS gradients.\n\nIf achieving rounded corners or shadows in all browsers isn\u2019t important, place them into outer circles, allowing you to save time by not creating images or employing JavaScript workarounds.\n\nI\u2019ve found plotting aspects of a visual design into circles of confusion is a useful technique when explaining the natural differences between browsers to clients. It sets more realistic expectations and creates an environment for more meaningful discussions about progressive and emerging technologies. Best of all, it enables everyone to make better and more informed decisions about design implementation priorities.\n\nInvolving clients allows the implications of the decisions they make more transparent. For me, this has sometimes meant shifting deadlines or it has allowed me to more easily justify an increase in fees. Most important of all, circles of confusion have helped the people that I work with move beyond yesterday\u2019s one-size-fits-all thinking about visual design, towards accepting the rich diversity of today\u2019s web.", "year": "2010", "author": "Andy Clarke", "author_slug": "andyclarke", "published": "2010-12-23T00:00:00+00:00", "url": "https://24ways.org/2010/circles-of-confusion/", "topic": "process"}
{"rowid": 226, "title": "Documentation-Driven Design for APIs", "contents": "Documentation is like gift wrapping.  It seems like superfluous fluff, but your family tends to be rather disappointed when their presents arrive in supermarket carrier bags, so you have to feign some sort of attempt at making your gift look enticing.  Documentation doesn\u2019t have to be all hard work and sellotaping yourself to a table \u2013 you can make it useful and relevant.\n\nDocumentation gets a pretty rough deal. It tends to get left until the end of a project, when some poor developer is assigned the \u2018document project\u2019 ticket and wades through each feature of Whizzy New API 3.0 and needs to recall exactly what each method is meant to do. That\u2019s assuming any time is left for documentation at all. The more common outcome resembles last minute homework scribbled on a post-it note, where just the bare bones of what\u2019s available are put out for your users, and you hope that you\u2019ll spot the inconsistencies and mistakes before they do.\n\nWouldn\u2019t it be nicer for everyone if you could make documentation not only outstanding for your users, but also a valuable tool for your development team \u2013 so much so that you couldn\u2019t imagine writing a line of code before you\u2019d documented it?\n\nDocumentation needs to have three main features:\n\n\n\tIt should have total coverage and document all the features of your project.  Private methods should be documented for your developers, and public features need to be available to your users.\n\tIt should be consistent \u2013 a user should know what to expect from your documentation, and terminology should be accurate to your language.\n\tIt should be current \u2013 and that means staying accurate as new versions of your code base are released.\n\n\nBut you can also get these bonuses:\n\n\n\tAct as a suggested specification \u2013 a guide that will aid a developer in making something consistent and usable.\n\tIt can test your API quality.\n\tIt can enhance the communication skills within your development team.\n\n\nSo how do we get our documentation to be rich and full of features, instead of a little worn out like Boxing Day leftovers?\n\nWrite your documentation first\n\nWhen I say first, I mean first. Not after you\u2019ve started writing the code. Not even after you\u2019ve started writing your unit tests. First. You may or may not have been provided with a decent specification, but the first job should be to turn your requirements for a feature into documentation.  \n\nIt works best when it takes the form of in-code comments. It works even better when your in-code comments take a standard documentation format that you can later use to generate published documentation for your users. This has the benefit of immediately making your docs as version controlled as your code-base, and it saves having to rewrite, copy or otherwise harass your docs into something legible later on. \n\nAlmost all languages have a self-documentation format these days. My choice of format for JavaScript is JSDocToolkit, and the sort of things I look for are the ability to specify private and public methods, full options object statements (opts as Opts only is a no-no), and the ability to include good examples.\n\nSo, our example for today will be a new festive feature for a JavaScript API. We\u2019ve been asked to specify a sled for Santa to get around the world to give out toys:\n\n\n\tSanta needs to be able to travel around the world in one night to deliver toys to children, and he\u2019ll need some reindeer to pull his sled.\n\n\nAs documentation, it would look like:\n\n/**\n@name Sled\n@extends Vehicle\n@constructor\n@description Create a new sled to send Santa around the world to deliver toys to good kids.\n\t@param {Object} [opts] Options\n\t@param {number} [opts.capacity='50'] Set the capacity of the sled\n\t@param {string} [opts.pilot='santa'] The pilot of the sled.\n@example\n\t// Create a sled and specify some reindeer.\n\tnew Sled().reindeer(['Dasher', 'Dancer', 'Prancer', 'Vixen', 'Comet', 'Cupid']);\n*/\n\nBy breaking it down as documentation, you can, for example, hand this over to another developer without the need to explain the feature in much depth, and they\u2019ll develop something that has to match this piece of documentation. It specifies everything that is important to this feature \u2013 its default values and types, and where it inherits other features from.  \n\nWe know that we need to specify some way of setting reindeer to pull the sled and also some toys to give, and so we can quickly specify extra methods for the sled:\n\n/*\n@name vehicle.Sled#reindeer\n@function\n@description Set the reindeer that will pull Santa's sled.\n\t@param {string[]} reindeer A list of the reindeer.\n@example\n\t// specifying some reindeer\n\tSled().reindeer(['Dasher', 'Dancer', 'Rudolph', 'Vixen']);\n*/\n/*\n@name vehicle.Sled#toys\n@function\n@description Add a list of toys and recipients to the Sled.\n\t@param {Object[]} toys A list of toys and who will receive them.\n@example\n\t// Adding toys to the sled\n\tSled().toys([\n\t\t{name:'Brian', toy:'Fire Engine'},\n\t\t{name:'Drew', toy:'Roller-skates'},\n\t\t{name:'Anna', toy:'Play-doh'},\n\t\t...\n\t\t]);\n*/\n\nJob done! You\u2019ve got a specification to share with your team and something useful for your users in the form of full examples, and you didn\u2019t even have to open another text editor.\n\nUse your documentation to share knowledge\n\nDocumentation isn\u2019t just for users. It\u2019s also used by internal developers to explain what they\u2019ve written and how it works. This is especially valuable where the team is large or the code-base sprawling.\n\nSo, returning to our example, the next step would be to share with the rest of the team (or at least a selection of the team if yours is large) what the documentation looks like. This is useful for two main reasons:\n\n\n\tThey can see if they understand what the documentation says the feature will do. It\u2019s best if they haven\u2019t seen the requirement before. If your fellow developers can\u2019t work out what \u2018MagicMethodX\u2019 is going to return from the docs, neither can your users.\n\tThey can check that the feature accomplishes everything that they expect to, and that it\u2019s consistent with the rest of the functionality.\n\n\nOn previous projects, we\u2019ve taken to referring to this stage of the development process as the \u2018bun fight\u2019.  It\u2019s a chance for everyone to have an honest say and throw a few pies without actually causing anyone to have to rewrite any code. If you can identify at this stage that a feature is over-complicated, lacking or just plain useless, you\u2019ll all be much happier to throw out a few lines of documentation than you may have been to throw out a partial, or even complete, piece of functionality.\n\nDocumentation has your back\n\nThe final benefit to working in this way is that your documentation not only remains accurate, it\u2019s always as accurate as your latest release. It can\u2019t fall behind. You can increase the likelihood that your docs will remain up to date by unit testing your examples.\n\nReturning to the previous example, we can add a QUnit unit test to the expected output with ease during the build process \u2013 we know exactly how the code will look and, with the @example tag, we can identify easily where to find the bits that need testing. If it\u2019s tested it\u2019ll definitely work as you expect it to when a user copy and pastes it. You\u2019re ensuring quality from idea to implementation.\n\nAs an extra bauble, the best thing about a system like JSDocToolkit is that it\u2019ll take your inline comments and turn them into beautiful sites, as good systems will allow for customised output templates. You\u2019ll be producing full-featured sites for your projects and plugins with almost no extra effort, but all the benefits.", "year": "2010", "author": "Frances Berriman", "author_slug": "francesberriman", "published": "2010-12-11T00:00:00+00:00", "url": "https://24ways.org/2010/documentation-driven-design-for-apis/", "topic": "process"}
{"rowid": 238, "title": "Everything You Wanted To Know About Gradients (And a Few Things You Didn\u2019t)", "contents": "Hello. I am here to discuss CSS3 gradients. Because, let\u2019s face it, what the web really needed was more gradients.\n\nStill, despite their widespread use (or is it overuse?), the smartly applied gradient can be a valuable contributor to a designer\u2019s vocabulary. There\u2019s always been a tension between the inherently two-dimensional nature of our medium, and our desire for more intensity, more depth in our designs. And a gradient can evoke so much: the splay of light across your desk, the slow decrease in volume toward the end of your favorite song, the sunset after a long day. When properly applied, graded colors bring a much needed softness to our work.\n\nOf course, that whole \u2018proper application\u2019 thing is the tricky bit.\n\nBut given their place in our toolkit and their prominence online, it really is heartening to see we can create gradients directly with CSS. They\u2019re part of the draft images module, and implemented in two of the major rendering engines.\n\nStill, I\u2019ve always found CSS gradients to be one of the more confusing aspects of CSS3. So if you\u2019ll indulge me, let\u2019s take a quick look at how to create CSS gradients\u2014hopefully we can make them seem a bit more accessible, and bring a bit more art into the browser.\n\nGradient theory 101 (I hope that\u2019s not really a thing)\n\nRight. So before we dive into the code, let\u2019s cover a few basics. Every gradient, no matter how complex, shares a few common characteristics. Here\u2019s a straightforward one:\n\n I spent seconds hours designing this gradient. I hope you like it.\n\nAt either end of our image, we have a final color value, or color stop: on the left, our stop is white; on the right, black. And more color-rich gradients are no different:\n\n (Don\u2019t ever really do this. Please. I beg you.)\n\nIt\u2019s visually more intricate, sure. But at the heart of it, we have just seven color stops (red, orange, yellow, and so on), making for a fantastic gradient all the way.\n\nNow, color stops alone do not a gradient make. Between each is a transition point, the fail-over point between the two stops. Now, the transition point doesn\u2019t need to fall exactly between stops: it can be brought closer to one stop or the other, influencing the overall shape of the gradient.\n\nA tale of two syntaxes\n\nArmed with our new vocabulary, let\u2019s look at a CSS gradient in the wild. Behold, the simple input button:\n\n\n\nThere\u2019s a simple linear gradient applied vertically across the button, moving from a bright sunflowerish hue (#FAA51A, for you hex nuts in the audience) to a much richer orange (#F47A20). And here\u2019s the CSS that makes it happen:\n\ninput[type=submit] {\n\tbackground-color: #F47A20;\n\tbackground-image: -moz-linear-gradient(\n\t\t#FAA51A,\n\t\t#F47A20\n\t\t);\n\tbackground-image: -webkit-gradient(linear, 0 0, 0 100%,\n\t\tcolor-stop(0, #FAA51A),\n\t\tcolor-stop(1, #F47A20)\n\t\t);\n}\n\nI\u2019ve borrowed David DeSandro\u2019s most excellent formatting suggestions for gradients to make this snippet a bit more legible but, still, the code above might have turned your stomach a bit. And that\u2019s perfectly understandable\u2014heck, it sort of turned mine. But let\u2019s step through the CSS slowly, and see if we can\u2019t make it a little less terrifying.\n\nVerbose WebKit is verbose\n\nHere\u2019s the syntax for our little gradient on WebKit:\n\nbackground-image: -webkit-gradient(linear, 0 0, 0 100%,\n\tcolor-stop(0, #FAA51A),\n\tcolor-stop(1, #F47A20)\n\t);\n\nWoof. Quite a mouthful, no? Well, here\u2019s what we\u2019re looking at:\n\n\n\tWebKit has a single -webkit-gradient property, which can be used to create either linear or radial gradients.\n\tThe next two values are the starting and ending positions for our gradient (0 0 and 0 100%, respectively). Linear gradients are simply drawn along the path between those two points, which allows us to change the direction of our gradient simply by altering its start and end points.\n\tAfterward, we specify our color stops with the oh-so-aptly named color-stop parameter, which takes the stop\u2019s position on the gradient (0 being the beginning, and 100% or 1 being the end) and the color itself.\n\n\nFor a simple two-color gradient like this, -webkit-gradient has a bit of shorthand notation to offer us:\n\nbackground-image: -webkit-gradient(linear, 0 0, 0 100%,\n\tfrom(#FAA51A),\n\tto(#FAA51A)\n\t);\n\nfrom(#FAA51A) is equivalent to writing color-stop(0, #FAA51A), and to(#FAA51A) is the same as color-stop(1, #FAA51A) or color-stop(100%, #FAA51A)\u2014in both cases, we\u2019re simply declaring the first and last color stops in our gradient.\n\nTerse Gecko is terse\n\nWebKit proposed its syntax back in 2008, heavily inspired by the way gradients are drawn in the canvas specification. However, a different, leaner syntax came to the fore, eventually appearing in a draft module specification in CSS3.\n\nNaturally, because nothing on the web was meant to be easy, this is the one that Mozilla has implemented.\n\nHere\u2019s how we get gradient-y in Gecko:\n\nbackground-image: -moz-linear-gradient(\n\t#FAA51A,\n\t#F47A20\n\t);\n\nWait, what? Done already? That\u2019s right. By default, -moz-linear-gradient assumes you\u2019re trying to create a vertical gradient, starting from the top of your element and moving to the bottom. And, if that\u2019s the case, then you simply need to specify your color stops, delimited with a few commas.\n\nI know: that was almost\u2026 painless. But the W3C/Mozilla syntax also affords us a fair amount of flexibility and control, by introducing features as we need them.\n\nWe can specify an origin point for our gradient:\n\nbackground-image: -moz-linear-gradient(50% 100%,\n\t#FAA51A,\n\t#F47A20\n\t);\n\nAs well as an angle, to give it a direction:\n\nbackground-image: -moz-linear-gradient(50% 100%, 45deg,\n\t#FAA51A,\n\t#F47A20\n\t);\n\nAnd we can specify multiple stops, simply by adding to our comma-delimited list:\n\nbackground-image: -moz-linear-gradient(50% 100%, 45deg,\n\t#FAA51A,\n\t#FCC,\n\t#F47A20\n\t);\n\nBy adding a percentage after a given color value, we can determine its position along the gradient path:\n\nbackground-image: -moz-linear-gradient(50% 100%, 45deg,\n\t#FAA51A,\n\t#FCC 20%,\n\t#F47A20\n\t);\n\nSo that\u2019s some of the flexibility implicit in the W3C/Mozilla-style syntax.\n\nNow, I should note that both syntaxes have their respective fans. I will say that the W3C/Mozilla-style syntax makes much more sense to me, and lines up with how I think about creating gradients. But I can totally understand why some might prefer WebKit\u2019s more verbose approach to the, well, looseness behind the -moz syntax. \u00c0 chacun son gradient syntax.\n\nStill, as the language gets refined by the W3C, I really hope some consensus is reached by the browser vendors. And with Opera signaling that it will support the W3C syntax, I suppose it falls on WebKit to do the same.\n\nReusing color stops for fun and profit\n\nBut CSS gradients aren\u2019t all simple colors and shapes and whatnot: by getting inventive with individual color stops, you can create some really complex, compelling effects.\n\nTim Van Damme, whose brain, I believe, should be posthumously donated to science, has a particularly clever application of gradients on The Box, a site dedicated to his occasional podcast series. Now, there are a fair number of gradients applied throughout the UI, but it\u2019s the feature image that really catches the eye.\n\nYou see, there\u2019s nothing that says you can\u2019t reuse color stops. And Tim\u2019s exploited that perfectly.\n\nHe\u2019s created a linear gradient, angled at forty-five degrees from the top left corner of the photo, starting with a fully transparent white (rgba(255, 255, 255, 0)). At the halfway mark, he\u2019s established another color stop at an only slightly more opaque white (rgba(255, 255, 255, 0.1)), making for that incredibly gradual brightening toward the middle of the photo.\n\n\n\nBut then he has set another color stop immediately on top of it, bringing it back down to rgba(255, 255, 255, 0) again. This creates that fantastically hard edge that diagonally bisects the photo, giving the image that subtle gloss.\n\n\n\nAnd his final color stop ends at the same fully transparent white, completing the effect. Hot? I do believe so.\n\nRocking the radials\n\nWe\u2019ve been looking at linear gradients pretty exclusively. But I\u2019d be remiss if I didn\u2019t at least mention radial gradients as a viable option, including a modest one as a link accent on a navigation bar:\n\n\n\nAnd here\u2019s the relevant CSS:\n\nbackground: -moz-radial-gradient(50% 100%, farthest-side,\n\trgb(204, 255, 255) 1%,\n\trgb(85, 85, 85) 15%,\n\trgba(85, 85, 85, 0)\n\t);\nbackground: -webkit-gradient(radial, 50% 100%, 0, 50% 100%, 15,\n\tfrom(rgb(204, 255, 255)),\n\tto(rgba(85, 85, 85, 0))\n\t);\n\nNow, the syntax builds on what we\u2019ve already learned about linear gradients, so much of it might be familiar to you, picking out color stops and transition points, as well as the two syntaxes\u2019 reliance on either a separate property (-moz-radial-gradient) or parameter (-webkit-gradient(radial, \u2026)) to shift into circular mode.\n\nMozilla introduces another stand-alone property (-moz-radial-gradient), and accepts a starting point (50% 100%) from which the circle radiates. There\u2019s also a size constant defined (farthest-side), which determines the reach and shape of our gradient.\n\nWebKit is again the more verbose of the two syntaxes, requiring both starting and ending points (50% 100% in both cases). Each also accepts a radius in pixels, allowing you to control the skew and breadth of the circle.\n\nAgain, this is a fairly modest little radial gradient. Time and article length (and, let\u2019s be honest, your author\u2019s completely inadequate grasp of geometry) prevent me from covering radial gradients in much more detail, because they are incredibly powerful. For those interested in learning more, I can\u2019t recommend the references at Mozilla and Apple strongly enough.\n\nLeave no browser behind\n\nBut no matter the kind of gradients you\u2019re working with, there is a large swathe of browsers that simply don\u2019t support gradients. Thankfully, it\u2019s fairly easy to declare a sensible fallback\u2014it just depends on the kind of fallback you\u2019d like. Essentially, gradient-blind browsers will disregard any properties containing references to either -moz-linear-gradient, -moz-radial-gradient, or -webkit-gradient, so you simply need to keep your fallback isolated from those properties.\n\nFor example: if you\u2019d like to fall back to a flat color, simply declare a separate background-color:\n\n.nav {\n\tbackground-color: #000;\n\tbackground-image: -moz-linear-gradient(rgba(0, 0, 0, 0), rgba(255, 255, 255, 0.45));\n\tbackground-image: -webkit-gradient(linear, 0 0, 0 100%, from(rgba(0, 0, 0, 0)), to(rgba(255, 255, 255, 0.45)));\n}\n\nOr perhaps just create three separate background properties.\n\n.nav {\n\tbackground: #000;\n\tbackground: #000 -moz-linear-gradient(rgba(0, 0, 0, 0), rgba(255, 255, 255, 0.45));\n\tbackground: #000 -webkit-gradient(linear, 0 0, 0 100%, from(rgba(0, 0, 0, 0)), to(rgba(255, 255, 255, 0.45)));\n}\n\nWe can even build on this to fall back to a non-gradient image:\n\n.nav {\n\tbackground: #000 <strong>url(\"faux-gradient-lol.png\") repeat-x</strong>;\n\tbackground: #000 -moz-linear-gradient(rgba(0, 0, 0, 0), rgba(255, 255, 255, 0.45));\n\tbackground: #000 -webkit-gradient(linear, 0 0, 0 100%, from(rgba(0, 0, 0, 0)), to(rgba(255, 255, 255, 0.45)));\n}\n\nNo matter the approach you feel most appropriate to your design, it\u2019s really just a matter of keeping your fallback design quarantined from its CSS3-ified siblings.\n\n(If you\u2019re feeling especially masochistic, there\u2019s even a way to get simple linear gradients working in IE via Microsoft\u2019s proprietary filters. Of course, those come with considerable performance penalties that even Microsoft is quick to point out, so I\u2019d recommend avoiding those.\n\nAnd don\u2019t tell Andy Clarke I told you, or he\u2019ll probably unload his Derringer at me. Or something.)\n\nGo forth and, um, gradientify!\n\nIt\u2019s entirely possible your head\u2019s spinning. Heck, mine is, but that might be the effects of the \u2019nog. But maybe you\u2019re wondering why you should care about CSS gradients. After all, images are here right now, and work just fine. \n\nWell, there are some quick benefits that spring to mind: fewer HTTP requests are needed; CSS3 gradients are easily made scalable, making them ideal for variable widths and heights; and finally, they\u2019re easily modifiable by tweaking a few CSS properties. Because, let\u2019s face it, less time spent yelling at Photoshop is a very, very good thing.\n\nOf course, CSS-generated gradients are not without their drawbacks. The syntax can be confusing, and it\u2019s still under development at the W3C. As we\u2019ve seen, browser support is still very much in flux. And it\u2019s possible that gradients themselves have some real performance drawbacks\u2014so test thoroughly, and gradient carefully.\n\nBut still, as syntaxes converge, and support improves, I think generated gradients can make a compelling tool in our collective belts. The tasteful design is, of course, entirely up to you.\n\nSo have fun, and get gradientin\u2019.", "year": "2010", "author": "Ethan Marcotte", "author_slug": "ethanmarcotte", "published": "2010-12-22T00:00:00+00:00", "url": "https://24ways.org/2010/everything-you-wanted-to-know-about-gradients/", "topic": "code"}
{"rowid": 236, "title": "Extreme Design", "contents": "Recently, I set out with twelve other designers and developers for a 19th century fortress on the Channel Island of Alderney. We were going to /dev/fort, a sort of band camp for geeks. Our cohort\u2019s mission: to think up, build and finish something \u2013 without readily available internet access.\n\n Alderney runway, photo by Chris Govias\n\n\n\nWait, no internet?\n\nWell, pretty much. As the creators of /dev/fort James Aylett and Mark Norman Francis put it: \u201cImagine a place with no distractions \u2013 no IM, no Twitter\u201d. But also no way to quickly look up a design pattern, code sample or source material. Like packing for camping, /dev/fort means bringing everything you\u2019ll need on your back or your hard drive: from long johns to your favourite icon set.\n\nWe got to work the first night discussing ideas for what we wanted to build. By the time breakfast was cleared up the next morning, we\u2019d settled on Russ\u2019s idea to make the Apollo 13 (PDF) transcript accessible. Days two and three were spent collaboratively planning (KJ style) what features we wanted to build, and unravelling the larger UX challenges of the project. The next five days were spent building it. Within 36 hours of touchdown at Southampton Airport, we launched our creation: spacelog.org\n\nThe weather was cold, the coal fire less than ideal, food and supplies a hike away, and the process lightning-fast. A week of designing under extreme circumstances called for an extreme process. Some of this was driven by James\u2019s and Norm\u2019s experience running these things, but a lot of it materialised while we were there \u2013 especially for our three-strong design team (myself, Gavin O\u2019 Carroll and Chris Govias) who, though we knew each other, had never worked together as a group in this kind of scenario before.\n\nThe outcome was a pretty spectacular process, with a some key takeaways useful for any small group trying to build something quickly.\n\nWhat it\u2019s like inside the fort\n\n/dev/fort has the pressure and pace of a hack day without being a hack day \u2013 primarily, no workshops or interruptions\u201a but also a different mentality. While hack days are typically developer-driven with a \u2018hack first, design later (if at all)\u2019 attitude, James was quick to tell the team to hold off from writing any code until we had a plan. This put a healthy pressure on the design and product folks to slash through the UX problems before we started building.\n\nWhile the fort had definitely more of a hack day feel, all of us were familiar with Agile methods, so we borrowed a few useful techniques such as morning stand-ups and an emphasis on teamwork. We cut some really good features to make our launch date, and chunked the work based on user goals, iterating as we went.\n\nWhat made this design process work?\n\nA golden ratio of teams\n\nMy personal experience both professionally and in free-form situations like this, is a tendency to get/hire a designer. Leaders of businesses, founders of start-ups, organisers of events: one designer is not enough! Finding one ace-blooded designer who can \u2018do everything\u2019 will always result in bottleneck and burnout. Like the nuances between different development languages, design is a multifaceted discipline, and very few can claim to be equally strong in every aspect. Overlap in skill set will result in a stronger, more robust interface.\n\nMore importantly, however, having lots of designers to go around meant that we all had the opportunity to pair with developers, polishing the details that don\u2019t usually get polished. As soon as we launched, the public reception of the design and UX was overwhelmingly positive (proof!). But also, a lot of people asked us who the designer was, attributing it to one person.\n\nWhile it\u2019s important to note that everyone in our team was multitalented (and could easily shift between roles, helping us all stay unblocked), the golden ratio James and Norm devised was two product/developer folks, three interaction designers and eight developers.\n\n photo by Ben Firshman\n\nEquality inside the fortress walls\n\nSomething magical about the fort is how everyone leaves the outside world on the drawbridge. Job titles, professional status, Twitter followers, and so on. Like scout camp, a mutual respect and trust is expected of all the participants. Like extreme programming, extreme design requires us all to be equal partners in a collaborative team. I think this is especially worth noting for designers; our past is filled with the clear hierarchy of the traditional studio system which, however important for taste and style, seems less compatible with modern web/software development methods.\n\nBeing equal doesn\u2019t mean being the same, however. We established clear roles and teams for ourselves on the second day, deferring to that person when a decision needed to be made. As the interface coalesced, the designers and developers took ownership over certain parts to ensure the details got looked after, while staying open to ideas and revisions from the rest of the cohort.\n\nCreate a space where everyone who enters is equal, but be sure to establish clear roles. Even if it\u2019s just for a short while, the environment will be beneficial.\n\n photo by Ben Firshman\n\nHang your heraldry from the rafters\n\nForts and castles are full of lore: coats of arms; paintings of battles; suits of armour. It\u2019s impossible not to be surrounded by these stories, words and ways of thinking. Like the whiteboards on the walls, putting organisational lore in your physical surroundings makes it impossible not to see.\n\nRyan Alexander brought some of those static-cling whiteboard sheets which were quickly filled with use cases; IA; team roles; and, most importantly, a glossary. As soon as we started working on the project, we realised we needed to get clear on what certain words meant: what was a logline, a range, a phase, a key moment? Were the back-end people using these words in the same way design and product was? Quickly writing up a glossary of terms meant everyone was instantly speaking the same language. There was no \u201cAh, I misunderstood because in the data structure x means y\u201d or, even worse, accidental seepage of technical language into the user interface copy.\n\nPut a glossary of your internal terminology somewhere big and fat on the wall. Stand around it and argue until you agree on what it says. Leave it up; don\u2019t underestimate the power of ambient communication and physical reference.\n\nPlan more, download less\n\nWhile internet is forbidden inside the fort, we did go on downloading expeditions: NASA photography; code documentation; and so on. The project wouldn\u2019t have been possible without a few trips to the web. We had two lists on the wall: groceries and supplies; internets \u2013 \u201cloo roll; Tom Stafford photo\u201c.\n\nThis changed our usual design process, forcing us to plan carefully and think of what we needed ahead of time. Getting to the internet was a thirty-minute hike up a snow covered cliff to the town airport, so you really had to need it, too. \n\n The path to the internet\n\nFor the visual design, especially, this resulted in more focus up front, and communication between the designers on what assets we required. It made us make decisions earlier and stick with them, creating less distraction and churn later in the process. \n\nTry it at home: unplug once you\u2019ve got the things you need. As an artist, it\u2019s easier to let your inner voice shine through if you\u2019re not looking at other people\u2019s work while creating.\n\nSocial design\n\nFinally, our design team experimented with a collaborative approach to wireframing. Once we had collectively nailed down use cases, IA, user journeys and other critical artefacts, we tried a pairing approach. One person drew in Illustrator in real time as the other two articulated what to draw. (This would work equally well with two people, but with three it meant that one of us could jump up and consult the lore on the walls or clarify a technical detail.) The result: we ended up considering more alternatives and quickly rallying around one solution, and resolved difficult problems more quickly.\n\nAt a certain stage we discovered it was more efficient for one person to take over \u2013 this happened around the time when the basic wireframes existed in Illustrator and we\u2019d collectively run through the use cases, making sure that everything was accounted for in a broad sense. At this point, take a break, go have a beer, and give yourself a pat on the back.\n\nPut the files somewhere accessible so everyone can use them as their base, and divide up the more detailed UI problems, screens or journeys. At this level of detail it\u2019s better to have your personal headspace.\n\nGavin called this \u2018social design\u2019. Chatting and drawing in real time turned what was normally a rather solitary act into a very social process, with some really promising results. I\u2019d tried something like this before with product or developer folks, and it can work \u2013 but there\u2019s something really beautiful about switching places and everyone involved being equally quick at drawing. That\u2019s not something you get with non-designers, and frequent swapping of the \u2018driver\u2019 and \u2018observer\u2019 roles is a key aspect to pairing.\n\nTackle the forest collectively and the trees individually \u2013 it will make your framework more robust and your details more polished. Win/win. \n\nThe return home\n\nGrateful to see a 3G signal on our phones again, our flight off the island was delayed, allowing for a flurry of domain name look-ups, Twitter catch-up, and e-mails to loved ones. A week in an isolated fort really made me appreciate continuous connectivity, but also just how unique some of these processes might be. \n\nYou just never know what crazy place you might be designing from next.", "year": "2010", "author": "Hannah Donovan", "author_slug": "hannahdonovan", "published": "2010-12-09T00:00:00+00:00", "url": "https://24ways.org/2010/extreme-design/", "topic": "process"}
{"rowid": 220, "title": "Finding Your Way with Static Maps", "contents": "Since the introduction of the Google Maps service in 2005, online maps have taken off in a way not really possible before the invention of slippy map interaction. Although quickly followed by a plethora of similar services from both commercial and non-commercial parties, Google\u2019s first-mover advantage, and easy-to-use developer API saw Google Maps become pretty much the de facto mapping service.\n\n\n\nIt\u2019s now so easy to add a map to a web page, there\u2019s no reason not to. Dropping an iframe map into your page is as simple as embedding a YouTube video.\n\nBut there\u2019s one crucial drawback to both the solution Google provides for you to drop into your page and the code developers typically implement themselves \u2013 they don\u2019t work without JavaScript.\n\nA bit about JavaScript\n\nBack in October of this year, The Yahoo! Developer Network blog ran some tests to measure how many visitors to the Yahoo! home page didn\u2019t have JavaScript available or enabled in their browser. It\u2019s an interesting test when you consider that the audience for the Yahoo! home page (one of the most visited pages on the web) represents about as mainstream a sample as you\u2019ll find. If there\u2019s any such thing as an \u2018average Web user\u2019 then this is them.\n\nThe results surprised me. It varied from region to region, but at most just two per cent of visitors didn\u2019t have JavaScript running. To be honest, I was expecting it to be higher, but this quote from the article caught my attention:\n\n\n\tWhile the percentage of visitors with JavaScript disabled seems like a low number, keep in mind that small percentages of big numbers are also big numbers.\n\n\nThat\u2019s right, of course, and it got me thinking about what that two per cent means. For many sites, two per cent is the number of visitors using the Opera web browser, using IE6, or using Mobile Safari. \n\nSo, although a small percentage of the total, users without JavaScript can\u2019t just be forgotten about, and catering for them is at the very heart of how the web is supposed to work.\n\nStarting with content in HTML, we layer on presentation with CSS and then enhance interactivity with JavaScript. If anything fails along the way or the network craps out, or a browser just doesn\u2019t support one of the technologies, the user still gets something they can work with. \n\nIt\u2019s progressive enhancement \u2013 also known as doing our jobs properly.\n\nSorry, wasn\u2019t this about maps?\n\nAs I was saying, the default code Google provides, and the example code it gives to developers (which typically just gets followed \u2018as is\u2019) doesn\u2019t account for users without JavaScript. No JavaScript, no content.\n\nWhen adding the ability to publish maps to our small content management system Perch, I didn\u2019t want to provide a solution that only worked with JavaScript. I had to go looking for a way to provide maps without JavaScript, too.\n\nThere\u2019s a simple solution, fortunately, in the form of static map tiles. All the various slippy map services use a JavaScript interface on top of what are basically rendered map image tiles. Dragging the map loads in more image tiles in the direction you want to view. If you\u2019ve used a slippy map on a slow connection, you\u2019ll be familiar with seeing these tiles load in one by one.\n\nThe Static Map API\n\nThe good news is that these tiles (or tiles just like them) can be used as regular images on your site. Google has a Static Map API which not only gives you a handy interface to retrieve a tile for the exact area you need, but also allows you to place pins, and zoom and centre the tile so that the image looks just so. \n\nThis means that you can create a static, non-JavaScript version of your slippy map\u2019s initial (or ideal) state to load into your page as a regular image, and then have the JavaScript map hijack the image and make it slippy.\n\nClearly, that\u2019s not going to be a perfect solution for every map\u2019s requirements. It doesn\u2019t allow for panning, zooming or interrogation without JavaScript. However, for the majority of straightforward map uses online, a static map makes a great alternative for those visitors without JavaScript.\n\n\n\nHere\u2019s the how\n\nRetrieving a static map tile is staggeringly easy \u2013 it\u2019s just a case of forming a URL with the correct arguments and then using that as the src of an image tag.\n\n<img src=\"http://maps.google.com/maps/api/staticmap\n\t?center=Bethlehem+Israel\n\t&zoom=5\n\t&size=540x280\n\t&maptype=satellite\n\t&markers=color:red|31.4211,35.1144\n\t&sensor=false\" \n\twidth=\"540\" height=\"280\" alt=\"Map of Bethlehem, Israel\" />\n\nAs you can see, there are a few key options that we pass along to the base URL. All of these should be familiar to anyone who\u2019s worked with the JavaScript API.\n\n\n\tcenter determines the point on which the map is centred. This can be latitude and longitude values, or simply an address which is then geocoded.\n\tzoom sets the zoom level.\n\tsize is the pixel dimensions of the image you require.\n\tmaptype can be roadmap, satellite, terrain or hybrid.\n\tmarkers sets one or more pin locations. Markers can be labelled, have different colours, and so on \u2013 there\u2019s quite a lot of control available.\n\tsensor states whether you are using a sensor to determine the user\u2019s location. When just embedding a map in a web page, set this to false.\n\n\nThere are many options, including plotting paths and setting the image format, which can all be found in the straightforward documentation.\n\nAdding to your page\n\nIf you\u2019ve worked with the JavaScript API, you\u2019ll know that it needs a container element which you inject the map into:\n\n<div id=\"map\"></div>\n\nAll you need to do is put your static image inside that container:\n\n<div id=\"map\">\n   <img src=\"http://maps.google.com/maps/api/staticmap[...]\" />\n </div>\n\nAnd then, in your JavaScript, find the image and remove it. For example, with jQuery you\u2019d simply use:\n\n$('#map img').remove();\n\nWhy not use a <noscript> element around the image? You could, and that would certainly work fine for browsers that do not support JavaScript. What that won\u2019t cover, however, is the situation where the browser has JavaScript support but, for whatever reason, the JavaScript doesn\u2019t run. This could be due to network issues, an aggressive corporate firewall, or even just a bug in your code. So for that reason, we put the image in for all browsers that show images, and then remove it when the JavaScript is  successfully running.\n\nSee an example in action\n\nAbout rate limits\n\nThe Google Static Map API limits the requests per site viewer \u2013 currently at one thousand distinct maps per day per viewer. So, for most sites you really don\u2019t need to worry about the rate limit. Requests for the same tile aren\u2019t normally counted, as the tile has already been generated and is cached. You can embed the images direct from Google and let it worry about the distribution and caching.\n\nIn conclusion\n\nAs you can see, adding a static map alongside your dynamic map for those users without JavaScript is very easy indeed. There may not be a huge percentage of web visitors browsing without JavaScript but, as we\u2019ve seen, a small percentage of a big number is still a big number. When it\u2019s so easy to add a static map, can you really justify not doing it?", "year": "2010", "author": "Drew McLellan", "author_slug": "drewmclellan", "published": "2010-12-01T00:00:00+00:00", "url": "https://24ways.org/2010/finding-your-way-with-static-maps/", "topic": "code"}
{"rowid": 224, "title": "Go Forth and Make Awesomeness", "contents": "We\u2019ve all dreamed of being a superhero: maybe that\u2019s why we\u2019ve ended up on the web\u2014a place where we can do good deeds and celebrate them on a daily basis. \n\nWear your dreams\n\nAt age four, I wore my Wonder Woman Underoos around my house, my grandparents\u2019 house, our neighbor\u2019s house, and even around the yard. I wanted to be a superhero when I grew up. I was crushed to learn that there is no school for superheroes\u2014no place to earn a degree in how to save the world from looming evil. Instead, I\u2014like everyone else\u2014was destined to go to ordinary school to focus on ABCs and 123s. Even still, I want to save the world.\n\nIntend your goodness\n\nRandom acts of kindness make a difference. Books, films, and advertising campaigns tout random acts of kindness and the positive influence they can have on the world. But why do acts of kindness have to be so random? Why can\u2019t we intend to be kind? A true superhero wakes each morning intending to perform selfless acts for the community. Why can\u2019t we do the same thing?\n\nAs a child, my mother taught me to plan to do at least three good deeds each day. And even now, years later, I put on my invisible cape looking for ways to do good.\n\nHere are some examples:\n\n\tslowing down to allow another driver in before me from the highway on-ramp\n\tbringing a co-worker their favorite kind of coffee or tea\n\tsharing my umbrella on a rainy day\n\tholding a door open for someone with full hands\n\tlistening intently when someone shares a story\n\tcomplimenting someone on a job well done\n\tthanking someone for a job well done\n\tleaving a constructive, or even supportive comment on someone\u2019s blog\n\n\nAs you can see, these acts are simple. Doing good and being kind is partially about being aware\u2014aware of the words we speak and the actions we take. Like superheroes, we create our own code of conduct to live by. Hopefully, we choose to put the community before ourselves (within reason) and to do our best not to damage it as we move through our lives.\n\nTake a bite out of the Apple\n\nWith some thought, we can weave this type of thinking and action into our business choices. We can take the simple acts of kindness concept and amplify it a bit. With this amplification, we can be a new kind of superhero.\n\nIn 1997, during a presentation, Steve Jobs stated Apple\u2019s core value in a simple, yet powerful, sentence:\n\n\n\tWe believe that people with passion can change the world for the better.\n\n\nApple fan or not, those are powerful words.\n\nDefine your core\n\nEvery organization must define its core values. Core values help us to frame, recognize, and understand the principles our organization embodies and practices. It doesn\u2019t matter if you\u2019re starting a new organization or you want to define values within an existing organization. Even if you\u2019re a freelancer, defining core values will help guide your decisions and actions.\n\nIf you can, work as a team to define core values. Gather the people who are your support system\u2014your business partners, your colleagues, and maybe even a trusted client\u2014this is now your core value creation team. Have a brainstorming session with your team. Let ideas flow. Give equal weight to the things people say. You may not hear everything you thought you might hear\u2014that\u2019s OK. You want the session to be free-flowing and honest. Ask yourself and your team questions like:\n\n\n\tWhat do you think my/our/your core values are?\n\tWhat do you think my/our/your priorities are?\n\tWhat do you think my/our/your core values should be?\n\tWhat do you think my/our/your priorities should be?\n\tHow do you think I/we should treat customers, clients, and each other?\n\tHow do we want others to treat us?\n\tWhat are my/our/your success stories?\n\tWhat has defined these experiences as successful?\n\n\nFrom this brainstorming session, you will craft your superhero code of conduct. You will decide what you will and will not do. You will determine how you will and will not act. You\u2019re setting the standards that you will live and work by\u2014so don\u2019t take this exercise lightly. Take your time. Use the exercise as a way to open a discussion about values. Find out what you and your team believe in. Set these values and keep them in place. Write them down and share these with your team and with the world. By sharing your core values, you hold yourself more accountable to them. You also send a strong message to the rest of the world about what type of organization you are and what you believe in. Other organizations and people may decide to align or not to align themselves with you because of your core values. This is good. Chances are, you\u2019ll be happier and more profitable if you work with other organizations and people who share similar core values.\n\n Photo: Laura Winn\n\nDuring your brainstorming session, list keywords. Don\u2019t edit. Allow things to take their course. Some examples of keywords might be:\n\nAbility \u00b7 Achievement \u00b7 Adventure \u00b7 Ambition \u00b7 Altruism \u00b7 Awareness \u00b7 Balance \u00b7 Caring \u00b7 Charity \u00b7 Citizenship \u00b7 Collaboration \u00b7 Commitment \u00b7 Community \u00b7 Compassion \u00b7 Consideration \u00b7 Cooperation \u00b7 Courage \u00b7 Courtesy \u00b7 Creativity \u00b7 Democracy \u00b7 Dignity \u00b7 Diplomacy \u00b7 Discipline \u00b7 Diversity \u00b7 Education \u00b7 Efficiency \u00b7 Energy \u00b7 Equality \u00b7 Excellence \u00b7 Excitement \u00b7 Fairness \u00b7 Family \u00b7 Freedom \u00b7 Fun \u00b7 Goodness \u00b7 Gratefulness \u00b7 Growth \u00b7 Happiness \u00b7 Harmony \u00b7 Helping \u00b7 Honor \u00b7 Hope \u00b7 Humility \u00b7 Humor \u00b7 Imagination \u00b7 Individuality \u00b7 Innovation \u00b7 Integrity \u00b7 Intelligence \u00b7 Joy \u00b7 Justice \u00b7 Kindness \u00b7 Knowledge \u00b7 Leadership \u00b7 Learning \u00b7 Loyalty \u00b7 Meaning \u00b7 Mindfulness \u00b7 Moderation \u00b7 Modesty \u00b7 Nurture \u00b7 Openness \u00b7 Organization \u00b7 Passion \u00b7 Patience \u00b7 Peace \u00b7 Planning \u00b7 Principles \u00b7 Productivity \u00b7 Purpose \u00b7 Quality \u00b7 Reliability \u00b7 Respectfulness \u00b7 Responsibility \u00b7 Security \u00b7 Sensitivity \u00b7 Service \u00b7 Sharing \u00b7 Simplicity \u00b7 Stability \u00b7 Tolerance \u00b7 Transparency \u00b7 Trust \u00b7 Truthfulness \u00b7 Understanding \u00b7 Unity \u00b7 Variety \u00b7 Vision \u00b7 Wisdom\n\nAfter you have a list of keywords, create your core values statement using the themes from your brainstorming session. There are no rules: while above, Steve Jobs summed up Apple\u2019s core values in one sentence, Zappos has ten core values:\n\n\n\tDeliver WOW Through Service\n\tEmbrace and Drive Change\n\tCreate Fun and A Little Weirdness\n\tBe Adventurous, Creative, and Open-Minded\n\tPursue Growth and Learning\n\tBuild Open and Honest Relationships With Communication\n\tBuild a Positive Team and Family Spirit\n\tDo More With Less\n\tBe Passionate and Determined\n\tBe Humble\n\n\nTo see how Zappos\u2019 employees embrace these core values, watch the video they created and posted on their website.\n\nDog food is yummy\n\nAlthough I find merit in every keyword listed, I\u2019ve distilled my core values to their simplest form:\n\nMake awesomeness. Do good.\n\nHow do you make awesomeness and do good? You need ambition, balance, collaboration, commitment, fun, and you need every keyword listed to support these actions. Again, there are no rules: your core values can be one sentence or a bulleted list. What matters is being true to yourself and creating core values that others can understand.  Before I start any project I ask myself: is there a way to make awesomeness and to do good? If the answer is \u201cyes,\u201d I embrace the endeavor because it aligns with my core values. If the answer is \u201cno,\u201d I move on to a project that supports my core values.\n\nUnleash your powers\n\nAlthough every organization will craft different core values, I imagine that you want to be a superhero and that you will define \u201cdoing good\u201d (or something similar) as one of your core values. Whether you work by yourself or with a team, you can use the web as a tool to help do good. It can be as simple as giving a free hug, or something a little more complex to help others and help your organization meet the bottom line. Some interesting initiatives that use the web to do good are:\n\n\n\tYahoo!: How Good Grows\n\tDesigual: Happy Hunters\n\tEdge Shave Gel: Anti-irritation campaign\n\n\n\n\nKnowing your underlying desire to return to your Underoos-and-cape-sporting childhood and knowing that you don\u2019t always have the opportunity to develop an entire initiative to \u201cdo good,\u201d remember that as writers, designers, and developers, we can perform superhero acts on a daily basis by making content, design, and development accessible to the greatest number of people. By considering other people\u2019s needs, we are intentionally performing acts of kindness\u2014we\u2019re doing good. There are many ways to write, design, and develop websites\u2014many of which will be discussed in other 24ways.org articles. As we make content, design, and development decisions\u2014as we develop campaigns and initiatives\u2014we need to keep our core values in mind. It\u2019s easy to make a positive difference in the world. Just be the superhero you\u2019ve always wanted to be. Go forth and make awesomeness.\n\nIf you would like to do good today, support The United Nations Children\u2019s Fund, an organization that works for children\u2019s rights, their survival, development and protection, by purchasing this year\u2019s 24 ways Annual 2010 created by Five Simple Steps. All proceeds go to UNICEF.", "year": "2010", "author": "Leslie Jensen-Inman", "author_slug": "lesliejenseninman", "published": "2010-12-04T00:00:00+00:00", "url": "https://24ways.org/2010/go-forth-and-make-awesomeness/", "topic": "business"}
{"rowid": 222, "title": "Golden Spirals", "contents": "As building blocks go, the rectangle is not one to overwhelm the designer with decisions. On the face of it, you have two options: you can set the width, and the height. But despite this apparent simplicity, there are combinations of width and height that can look unbalanced. If a rectangle is too tall and slim, it might appear precarious. If it is not tall enough, it may simply look flat. But like a guitar string that\u2019s out of tune, you can tweak the proportions little by little until a rectangle feels, as Goldilocks said, just right.\n\nA golden rectangle has its height and width in the golden ratio, which is approximately 1:1.618. These proportions have long been recognised as being aesthetically harmonious. Whether through instruction or by intuition, artists have understood how to exploit these proportions over the centuries. Examples can be found in classical architecture, medieval book construction, and even in the recent #newtwitter redesign.\n\nA mathematical curiosity\n\n\n\n\n\n\n\nThe golden rectangle is unique, in that if you remove a square section from it, what is left behind is itself a golden rectangle. The removal of a square can be repeated on the rectangle that is left behind, and then repeated again, as many times as you like. This means that the golden rectangle can be treated as a building block for recursive patterns. In this article, we will exploit this property to build a golden spiral, using only HTML and CSS.\n\nThe markup\n\nThe HTML we\u2019ll use for this study is simply a series of nested <div>s.\n\n<body>\n\t<div id=\"container\">\n\t\t<div class=\"cycle\">\n\t\t\t<div>\n\t\t\t\t<div>\n\t\t\t\t\t<div>\n\t\t\t\t\t\t<div class=\"cycle\">\n\t\t\t\t\t\t\t<div>\n\t\t\t\t\t\t\t\t<div>\n\t\t\t\t\t\t\t\t\t<div>\n\t\t\t\t\t\t\t\t\t\t<div class=\"cycle\">\n\t\t\t\t\t\t\t\t\t\t\t<div>\n\t\t\t\t\t\t\t\t\t\t\t\t<div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"cycle\"></div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t\t</div>\n\t\t\t\t\t\t</div>\n\t\t\t\t\t</div>\n\t\t\t\t</div>\n\t\t\t</div>\n\t\t</div>\n\t</div>\n</body>\n\nThe first of these has the class cycle, and so does every fourth ancestor thereafter. The spiral completes a cycle every four steps, so this class allows styles to be reused on <div>s that appear at the same position in each cycle.\n\nGolden proportions\n\nTo create our spiral we are going to exploit the unique properties of the golden rectangle, so our first priority is to ensure that we have a golden rectangle to begin with. If we pick a length for the short edge \u2013 say, 288 pixels \u2013 we can then calculate the length of the long edge by multiplying this value by 1.618. In this case, 288\u2009\u00d7\u20091.618\u2009=\u2009466, so our starting point will be a <div> with these properties:\n\n#container > div {\n  width: 466px;\n  height: 288px;\n}\n\nThe greater than symbol is used here to single out the immediate child of the #container element, without affecting the grandchild or any of the more distant descendants.\n\nWe could go on to specify the precise pixel dimensions of every child element, but that means doing a lot of sums. It would be much easier if we just specified the dimensions for each element as a percentage of the width and height of its parent. This also has the advantage that if you change the size of the outermost container, all nested elements would be resized automatically \u2013 something that we shall exploit later.\n\n\n\n\n\n\n\nThe approximate value of 38.2% can be derived from (100\u2009\u00d7\u20091\u2009\u2212\u2009phi)\u2009\u00f7\u2009phi, where the Greek letter phi (\u03d5) stands for the golden ratio. The value of phi can be expressed as phi\u2009=\u2009(1\u2009+\u2009\u221a5\u2009)\u2009\u00f7\u20092, which is approximately 1.618. You don\u2019t have to understand the derivation to use it. Just remember that if you start with a golden rectangle, you can slice 38.2% from it to create a new golden rectangle.\n\nThis can be expressed in CSS quite simply:\n\n.cycle,\n.cycle > div > div {\n  height: 38.2%;\n  width: 100%;\n}\n.cycle > div,\n.cycle > div > div > div {\n  width: 38.2%;\n  height: 100%;\n}\n\nYou can see the result so far by visiting Demo One. With no borders or shading, there is nothing to see yet, so let\u2019s address that next.\n\nShading with transparency\n\nWe\u2019ll need to apply some shading to distinguish each segment of the spiral from its neighbours. We could start with a white background, then progress through shades of grey: #eee, #ddd, #ccc and so on, but this means hard-coding the background-color for every element. A more elegant solution would be to use the same colour for every element, but to make each one slightly transparent.\n\nThe nested <div>s that we are working with could be compared to layers in Photoshop. By applying a semi-transparent shade of grey, each successive layer can build on top of the darker layers beneath it. The effect accumulates, causing each successive layer to appear slightly darker than the last. In his 2009 article for 24 ways, Drew McLellan showed how to create a semi-transparent effect by working with RGBA colour. Here, we\u2019ll use the colour black with an alpha value of 0.07.\n\n#container div { background-color: rgba(0,0,0,0.07) }\n\nNote that I haven\u2019t used the immediate child selector here, which means that this rule will apply to all <div> elements inside the #container, no matter how deeply nested they are. You can view the result in Demo Two. As you can see, the golden rectangles alternate between landscape and portrait orientation.\n\n\n\nDemo Three).\n\n\n\nCSS3 specification indicates that a percentage can be used to set the border-radius property, but using percentages does not achieve consistent results in browsers today. Luckily, if you specify a border-radius in pixels using a value that is greater than the width and height of the element, then the resulting curve will use the shorter length side as its radius. This produces exactly the effect that we want, so we\u2019ll use an arbitrarily high value of 10,000 pixels for each border-radius:\n\n.cycle {\n  border-radius: 0px;\n  border-bottom-left-radius: 10000px;\n}\n.cycle > div {\n  border-radius: 0px;\n  border-bottom-right-radius: 10000px;\n}\n.cycle > div > div {\n  border-radius: 0px;\n  border-top-right-radius: 10000px;\n}\n.cycle > div > div > div {\n  border-radius: 0px;\n  border-top-left-radius: 10000px;\n}\n\nNote that the specification for the border-radius property is still in flux, so it is advisable to use vendor-specific prefixes. I have omitted them from the example above for the sake of clarity, but if you view source on Demo Four then you\u2019ll see that the actual styles are not quite as brief.\n\n\n\n\n\n\n\nFilling the available space\n\nWe have created an approximation of the Golden Spiral using only HTML and CSS. Neat! It\u2019s a shame that it occupies just a fraction of the available space. As a finishing touch, let\u2019s make the golden spiral expand or contract to use the full space available to it.\n\nIdeally, the outermost container should use the full available width or height that could accomodate a rectangle of golden proportions. This behaviour is available for background images using the \u201c background-size: contain; property, but I know of no way to make block level HTML elements behave in this fashion (if I\u2019m missing something, please enlighten me). Where CSS fails to deliver, JavaScript can usually provide a workaround. This snippet requires jQuery:\n\n$(document).ready(function() {\n\tvar phi = (1 + Math.sqrt(5))/2;\n\n\t$(window).resize(function() {\n\t\tvar goldenWidth  = windowWidth  = $(this).width(),\n\t\t\tgoldenHeight = windowHeight = $(this).height();\n\n\t\tif (windowWidth/windowHeight > phi) {\n\t\t\t// panoramic viewport \u2013 use full height\n\t\t\tgoldenWidth  = windowHeight * phi;\n\t\t} else {\n\t\t\t// portrait viewport  \u2013 use full width\n\t\t\tgoldenHeight = windowWidth / phi;\n\t\t};\n\n\t$(\"#container > div.cycle\")\n\t\t.width(goldenWidth)\n\t\t.height(goldenHeight);\n\n\t}).resize();\n\n});\n\nYou can view the result by visiting Demo Five.\n\n\n\n\n\n\n\nIs it just me, or can you see an elephant in there?\n\nYou can probably think of many ways to enhance this further, but for this study we\u2019ll leave it there. It has been a good excuse to play with proportions, positioning and the immediate child selector, as well as new CSS3 features such as border-radius and RGBA colours. If you are not already designing with golden proportions, then perhaps this will inspire you to begin.", "year": "2010", "author": "Drew Neil", "author_slug": "drewneil", "published": "2010-12-07T00:00:00+00:00", "url": "https://24ways.org/2010/golden-spirals/", "topic": "design"}
{"rowid": 225, "title": "Good Ideas Grow on Paper", "contents": "Great designers have one thing in common: their design process is centred on ideas; ideas that are more often than not developed on paper. Though it\u2019s often tempting to take the path of least resistance, turning to the computer in the headlong rush to complete a project (often in the face of formidable client pressure), resist the urge and \u2013 for a truly great idea \u2013 start first on paper.\n\nThe path of least resistance is often characterised by clich\u00e9 and overused techniques \u2013 one per cent noise, border-radius, text-shadow \u2013 the usual suspects \u2013 techniques that are ten-a-penny at the gallery sites. Whilst all are useful, and technique and craft are important, great design isn\u2019t about technique alone \u2013 it\u2019s about technique in the service of good ideas.\n\nBut how do we generate those ideas?\n\nInspiration can certainly come to you out of the blue. When working as a designer in a role which often consists of incubating good ideas, however, idly waiting for the time-honoured lightbulb to appear above your head just isn\u2019t good enough. We need to establish an environment where we tip the odds of getting good ideas in our favour.\n\nSo, when faced with the blank canvas, what do we do to unlock the proverbial tidal wave of creativity? Fear not. We\u2019re about to share with you a couple of stalwart techniques that will stand you in good stead when you need that good idea, in the face of the pressure of yet another looming deadline.\n\nGet the process right\n\nWhere do ideas come from? In many cases they come from anywhere but the screen. Hence, our first commandment is to close the lid of your computer and, for a change, work on paper. It might seem strange, it might also seem like a distraction, but \u2013 trust us \u2013 the time invested here will more than pay off.\n\nIdea generation should be a process of rapid iteration, sketching and thinking aloud, all processes best undertaken in more fast paced, analogue media. Our tool of choice is the Sharpie and Flip Chart Combo\u00a9, intentionally low resolution to encourage lo-fi idea generation. In short, your tools should be designed not to be precious, but to quickly process your thoughts. Ideas can be expressed with a thick line marker or by drawing with a stick in the sand; it\u2019s the ideas that matter, not the medium.\n\nInput\u2009>\u2009Synthesise\u2009>\u2009Output\n\nIdeas don\u2019t materialise in a vacuum. Without constant input, the outputs will inevitably remain the same. As such, it\u2019s essential to maintain an inquisitive mind, ensuring a steady flow of new triggers and stimuli that enable your thinking to evolve.\n\nWhat every designer brings to the table is their prior experience and unique knowledge. It should come as no surprise to discover that a tried and tested method of increasing that knowledge is, believe it or not, to read \u2013 often and widely. The best and most nuanced ideas come after many years of priming the brain with an array of diverse material, a point made recently in Jessica Hische\u2019s aptly named Why You Should Know Your Shit.\n\nOne of the best ways of synthesising the knowledge you accumulate is to write. The act of writing facilitates your thinking and stores the pieces of the jigsaw you\u2019ll one day return to. You don\u2019t have to write a book or a well-articulated article; a scribbled note in the margin will suffice in facilitating the process of digestion.\n\nAs with writing, we implore you to make sketching an essential part of your digestion process. More immediate than writing, sketching has the power to put yet unformed ideas down on paper, giving you an insight into the fantastic conceptions you\u2019re more often than not still incubating.\n\nOur second commandment is a practical one: always carry a sketchbook and a pen. Although it seems that the very best ideas are scribbled on the back of a beer mat or a wine-stained napkin, always carrying your \u2018thinking utensils\u2019 should be as natural as not leaving the house without your phone, wallet, keys or pants.\n\nFurther, the more you use your sketchbook, the less precious you\u2019ll find yourself becoming. Sketching isn\u2019t about being an excellent draughtsman, it\u2019s about synthesising and processing your thoughts and ideas, as Jason Santa Maria summarises nicely in his article Pretty Sketchy:\n\n\n\tSketchbooks are not about being a good artist, they\u2019re about being a good thinker.\n\n\tJason Santa Maria\n\n\nThe sketchbook and pen should become your trusted tools in your task to constantly survey the world around you. As Paul Smith says, You Can Find Inspiration in Anything; close the lid, look beyond the computer; there\u2019s a whole world of inspiration out there.\n\nLearn to love old dusty buildings\n\nSo, how do you learn? How do you push beyond the predictable world pre-filtered by Mr Google? The answer lies in establishing a habit of exploring the wonderful worlds of museums and libraries, dusty old buildings that repay repeated visits.\n\nOnce the primary repositories of thought and endless sources of inspiration, these institutions are now often passed over for the quick fix of a Google search or Wikipedia by you, the designer, chained to a desk and manacled to a MacBook. Whilst others might frown, we urge you to get away from your desk and take an eye-opening stroll through the knowledge-filled corridors of yore (and don\u2019t forget to bring your sketchbook).\n\nHere you\u2019ll find ideas aplenty, ideas that will set you apart from your peers, who remain ever-reliant on the same old digital sources.\n\nThe idea generation toolbox\n\nNow that we\u2019ve established the importance of getting the process and the context right, it\u2019s time to meet the idea generation toolbox: a series of tools and techniques that can be applied singularly or in combination to solve the perennial problem of the blank canvas.\n\nThe clean sheet of paper, numbing in its emptiness, can prove an insurmountable barrier to many a project, but the route beyond it involves just a few, well-considered steps. The route to a good idea lies in widening your pool of inspiration at the project outset. Let go and generate ideas quickly; it\u2019s critical to diverge before you converge \u2013 but how do we do this and what exactly do we mean by this?\n\nThe temptation is to pull something out of your well-worn box of tricks, something that you know from experience will do the job. We urge you, however, not to fall prey to this desire. You can do better; better still, a few of you putting your minds together can do a lot better. By avoiding the path of least resistance, you can create something extraordinary.\n\nCulturally, we value logical, linear thinking. Since the days of Plato and Aristotle, critical thinking, deduction and the pursuit of truth have been rewarded. To generate creative ideas, however, we need to start thinking sideways, making connections that don\u2019t necessarily follow logically. Lateral thinking, a phrase coined by Edward de Bono in 1967, aptly describes this very process:\n\n\n\tWith logic you start out with certain ingredients, just as in playing chess you start out with given pieces \u2013 lateral thinking is concerned not with playing with the existing pieces but with seeking to change those very pieces.\n\n\tEdward de Bono\n\n\nOne of the easiest ways to start thinking laterally is to start with a mind map, a perfect tool for widening the scope of a project beyond the predictable and an ideal one for getting the context right for discovery.\n\nMaking connections\n\nMind maps can be used to generate, visualise and structure ideas. Arranged intuitively and classified around groupings, mind maps allow chance connections to be drawn across related groups of information, and are perfect for exposing alogical associations and unexpected relationships.\n\nGet a number of people together in a room, equipped with the Sharpie and Flip Chart Combo\u00a9. Give yourself a limited amount of time \u2013 half an hour should prove more than enough \u2013 and you\u2019ll be surprised at the results a few well-chosen people can generate in a very short space of time. The key is to work fast, diverge and not inhibit thinking. \n\nWe\u2019ve been embracing Tony Buzan\u2019s methods in our teaching for over a decade. His ideas on the power of radiant thinking and how this can be applied to mind maps, uncover the real power which lies in the human brain\u2019s ability to spot connections across a mapped out body of diverse knowledge.\n\nFrank Chimero wrote about this recently in How to Have an Idea, which beautifully illustrates Mr Buzan\u2019s theories, articulating the importance of the brain\u2019s ability to make abstract connections, finding unexpected pairings when a concept is mapped out on paper.\n\nOnce a topic is surveyed and a rich set of stimuli articulated, the next stage is to draw connections, pulling from opposite sides of the mind map. It\u2019s at this point, when defining alogical connections, that the truly interesting and unexpected ideas are often uncovered.\n\nThe curve ball\n\nIf you\u2019ve followed our instructions so far, all being well, you should have a number of ideas. Good news: we have one last technique to throw into the mix. We like to call it \u2018the curve ball\u2019, that last minute \u2018something\u2019 that forces you to rethink and encourages you to address a problem from a different direction.\n\nThere are a number of ways of throwing in a curve ball \u2013 a short, sharp, unexpected impetus \u2013 but we have a firm favourite we think you\u2019ll appreciate. Brian Eno and Peter Schmidt\u2019s Oblique Strategies \u2013 subtitled \u2018Over One Hundred Worthwhile Dilemmas\u2019 \u2013 are the perfect creative tool for throwing in a spot of unpredictability. As Eno and Schmidt put it:\n\n\n\tThe Oblique Strategies can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident.\n\n\tBrian Eno and Peter Schmidt\n\n\nSimply pick a card and apply the strategy to the problem at hand. The key here, as with de Bono\u2019s techniques, is to embrace randomness and provocation to inspire lateral creative approaches.\n\nTo assist this process, you might wish to consult one of the many virtual decks of Oblique Strategies online.\n\nWrapping up\n\nTo summarise, it\u2019s tempting to see the route to the fastest satisfactory conclusion in a computer when, in reality, that\u2019s the last place you should start. The tools we\u2019ve introduced, far from time-consuming, are hyper-efficient, always at hand and, if you factor them into your workflow, the key to unlocking the ideas that set the great designers apart.\n\nWe wish you well on your quest in search of the perfect idea, now armed with the knowledge that the quest begins on paper.", "year": "2010", "author": "The Standardistas", "author_slug": "thestandardistas", "published": "2010-12-13T00:00:00+00:00", "url": "https://24ways.org/2010/good-ideas-grow-on-paper/", "topic": "process"}
{"rowid": 233, "title": "Wrapping Things Nicely with HTML5 Local Storage", "contents": "HTML5 is here to turn the web from a web of hacks into a web of applications \u2013 and we are well on the way to this goal. The coming year will be totally and utterly awesome if you are excited about web technologies.\n\nThis year the HTML5 revolution started and there is no stopping it. For the first time all the browser vendors are rallying together to make a technology work. The new browser war is fought over implementation of the HTML5 standard and not over random additions. We live in exciting times.\n\nStarting with a bang\n\nAs with every revolution there is a lot of noise with bangs and explosions, and that\u2019s the stage we\u2019re at right now. HTML5 showcases are often CSS3 showcases, web font playgrounds, or video and canvas examples.\n\nThis is great, as it gets people excited and it gives the media something to show. There is much more to HTML5, though. Let\u2019s take a look at one of the less sexy, but amazingly useful features of HTML5 (it was in the HTML5 specs, but grew at such an alarming rate that it warranted its own spec): storing information on the client-side.\n\nWhy store data on the client-side?\n\nStoring information in people\u2019s browsers affords us a few options that every application should have:\n\n\n\tYou can retain the state of an application \u2013 when the user comes back after closing the browser, everything will be as she left it. That\u2019s how \u2018real\u2019 applications work and this is how the web ones should, too.\n\tYou can cache data \u2013 if something doesn\u2019t change then there is no point in loading it over the Internet if local access is so much faster\n\tYou can store user preferences \u2013 without needing to keep that data on your server at all.\n\n\nIn the past, storing local data wasn\u2019t much fun.\n\nThe pain of hacky browser solutions\n\nIn the past, all we had were cookies. I don\u2019t mean the yummy things you get with your coffee, endorsed by the blue, furry junkie in Sesame Street, but the other, digital ones. Cookies suck \u2013 it isn\u2019t fun to have an unencrypted HTTP overhead on every server request for storing four kilobytes of data in a cryptic format. It was OK for 1994, but really neither an easy nor a beautiful solution for the task of storing data on the client.\n\nThen came a plethora of solutions by different vendors \u2013 from Microsoft\u2019s userdata to Flash\u2019s LSO, and from Silverlight isolated storage to Google\u2019s Gears. If you want to know just how many crazy and convoluted ways there are to store a bit of information, check out Samy\u2019s evercookie.\n\nClearly, we needed an easier and standardised way of storing local data.\n\nKeeping it simple \u2013 local storage\n\nAnd, lo and behold, we have one. The local storage API (or session storage, with the only difference being that session data is lost when the window is closed) is ridiculously easy to use. All you do is call a few methods on the window.localStorage object \u2013 or even just set the properties directly using the square bracket notation:\n\nif('localStorage' in window && window['localStorage'] !== null){\n\tvar store = window.localStorage;\n\n\t// valid, API way\n\t\tstore.setItem(\u2018cow\u2019,\u2018moo\u2019);\n\t\tconsole.log(\n\t\tstore.getItem(\u2018cow\u2019)\n\t); // => \u2018moo\u2019\n\n\t// shorthand, breaks at keys with spaces\n\t\tstore.sheep = \u2018baa\u2019 \n\t\tconsole.log(\n\t\tstore.sheep \n\t); // \u2018baa\u2019\n\n\t// shorthand for all\n\t\tstore[\u2018dog\u2019] = \u2018bark\u2019\n\t\tconsole.log(\n\t\tstore[\u2018dog\u2019]\n\t); // => \u2018bark\u2019\n\n}\n\nBrowser support is actually pretty good: Chrome 4+; Firefox 3.5+; IE8+; Opera 10.5+; Safari 4+; plus iPhone 2.0+; and Android 2.0+. That should cover most of your needs. Of course, you should check for support first (or use a wrapper library like YUI Storage Utility or YUI Storage Lite).\n\nThe data is stored on a per domain basis and you can store up to five megabytes of data in localStorage for each domain.\n\nStrings attached\n\nBy default, localStorage only supports strings as storage formats. You can\u2019t store results of JavaScript computations that are arrays or objects, and every number is stored as a string. This means that long, floating point numbers eat into the available memory much more quickly than if they were stored as numbers.\n\nvar cowdesc = \"the cow is of the bovine ilk, \"+\n\t\t\"one end is for the moo, the \"+\n\t\t\"other for the milk\";\n\nvar cowdef = {\n\tilk\u201cbovine\u201d,\n\tlegs,\n\tudders,\n\tpurposes\n\t\tfront\u201cmoo\u201d,\n\t\tend\u201cmilk\u201d\n\t}\n};\n\nwindow.localStorage.setItem(\u2018describecow\u2019,cowdesc);\nconsole.log(\n\twindow.localStorage.getItem(\u2018describecow\u2019)\n); // => the cow is of the bovine\u2026 \n\nwindow.localStorage.setItem(\u2018definecow\u2019,cowdef);\nconsole.log(\n\twindow.localStorage.getItem(\u2018definecow\u2019)\n); // => [object Object] = bad!\n\nThis limits what you can store quite heavily, which is why it makes sense to use JSON to encode and decode the data you store:\n\nvar cowdef = {\n\t\"ilk\":\"bovine\",\n\t\"legs\":4,\n\t\"udders\":4,\n\t\"purposes\":{\n\t\"front\":\"moo\",\n\t\"end\":\"milk\"\n\t}\n};\n\nwindow.localStorage.setItem(\u2018describecow\u2019,JSON.stringify(cowdef));\nconsole.log(\n\tJSON.parse(\n\t\twindow.localStorage.getItem(\u2018describecow\u2019)\n\t)\n); // =>  Object { ilk=\u201cbovine\u201d,  more\u2026}\n\nYou can also come up with your own formatting solutions like CSV, or pipe | or tilde ~ separated formats, but JSON is very terse and has native browser support.\n\nSome use case examples\n\nThe simplest use of localStorage is, of course, storing some data: the current state of a game; how far through a multi-form sign-up process a user is; and other things we traditionally stored in cookies. Using JSON, though, we can do cooler things.\n\nSpeeding up web service use and avoiding exceeding the quota\n\nA lot of web services only allow you a certain amount of hits per hour or day, and can be very slow. By using localStorage with a time stamp, you can cache results of web services locally and only access them after a certain time to refresh the data.\n\nI used this technique in my An Event Apart 10K entry, World Info, to only load the massive dataset of all the world information once, and allow for much faster subsequent visits to the site. The following screencast shows the difference:\n\n\n\nFor use with YQL (remember last year\u2019s 24 ways entry?), I\u2019ve built a small script called YQL localcache that wraps localStorage around the YQL data call. An example would be the following:\n\nyqlcache.get({\n\tyql: 'select * from flickr.photos.search where text=\"santa\"',\n\tid: 'myphotos',\n\tcacheage: ( 60*60*1000 ),\n\tcallback: function(data) {\n\t\tconsole.log(data);\n\t}\n});\n\nThis loads photos of Santa from Flickr and stores them for an hour in the key myphotos of localStorage. If you call the function at various times, you receive an object back with the YQL results in a data property and a type property which defines where the data came from \u2013 live is live data, cached means it comes from cache, and freshcache indicates that it was called for the first time and a new cache was primed. The cache will work for an hour (60\u00d760\u00d71,000 milliseconds) and then be refreshed. So, instead of hitting the YQL endpoint over and over again, you hit it once per hour.\n\nCaching a full interface\n\nAnother use case I found was to retain the state of a whole interface of an application by caching the innerHTML once it has been rendered. I use this in the Yahoo Firehose search interface, and you can get the full story about local storage and how it is used in this screencast:\n\n\n\nThe stripped down code is incredibly simple (JavaScript with PHP embed):\n\n// test for localStorage support\nif(('localStorage' in window) && window['localStorage'] !== null){\n\nvar f = document.getElementById(\u2018mainform\u2019);\n// test with PHP if the form was sent (the submit button has the name \u201csent\u201d)\n\n\n\t// get the HTML of the form and cache it in the property \u201cstate\u201d\n\tlocalStorage.setItem(\u2018state\u2019,f.innerHTML);\n\n// if the form hasn\u2019t been sent\u2026\n\n\n\t// check if a state property exists and write back the HTML cache\n\tif(\u2018state\u2019 in localStorage){\n\t\tf.innerHTML = localStorage.getItem(\u2018state\u2019);  \n\t}\n\n\t\n\n}\n\nOther ideas\n\nIn essence, you can use local storage every time you need to speed up access. For example, you could store image sprites in base-64 encoded datasets instead of loading them from a server. Or you could store CSS and JavaScript libraries on the client. Anything goes \u2013 have a play.\n\nIssues with local and session storage\n\nOf course, not all is rainbows and unicorns with the localStorage API. There are a few niggles that need ironing out. As with anything, this needs people to use the technology and raise issues. Here are some of the problems:\n\n\n\tInadequate information about storage quota \u2013 if you try to add more content to an already full store, you get a QUOTA_EXCEEDED_ERR and that\u2019s it. There\u2019s a great explanation and test suite for localStorage quota available.\n\tLack of automatically expiring storage \u2013 a feature that cookies came with. Pamela Fox has a solution (also available as a demo and source code)\n\tLack of encrypted storage \u2013 right now, everything is stored in readable strings in the browser.\n\n\nBigger, better, faster, more!\n\nAs cool as the local and session storage APIs are, they are not quite ready for extensive adoption \u2013 the storage limits might get in your way, and if you really want to go to town with accessing, filtering and sorting data, real databases are what you\u2019ll need. And, as we live in a world of client-side development, people are moving from heavy server-side databases like MySQL to NoSQL environments.\n\nOn the web, there is also a lot of work going on, with Ian Hickson of Google proposing the Web SQL database, and Nikunj Mehta, Jonas Sicking (Mozilla), Eliot Graff (Microsoft) and Andrei Popescu (Google) taking the idea beyond simply replicating MySQL and instead offering Indexed DB as an even faster alternative.\n\nOn the mobile front, a really important feature is to be able to store data to use when you are offline (mobile coverage and roaming data plans anybody?) and you can use the Offline Webapps API for that.\n\nAs I mentioned at the beginning, we have a very exciting time ahead \u2013 let\u2019s make this web work faster and more reliably by using what browsers offer us. For more on local storage, check out the chapter on Dive into HTML5.", "year": "2010", "author": "Christian Heilmann", "author_slug": "chrisheilmann", "published": "2010-12-06T00:00:00+00:00", "url": "https://24ways.org/2010/html5-local-storage/", "topic": "code"}
{"rowid": 234, "title": "An Introduction to CSS 3-D Transforms", "contents": "Ladies and gentlemen, it is the second decade of the third millennium and we are still kicking around the same 2-D interface we got three decades ago. Sure, Apple debuted a few apps for OSX 10.7 that have a couple more 3-D flourishes, and Microsoft has had that Flip 3D for a while. But c\u2019mon \u2013 2011 is right around the corner. That\u2019s Twenty Eleven, folks. Where is our 3-D virtual reality? By now, we should be zipping around the Metaverse on super-sonic motorbikes.\n\nGranted, the capability of rendering complex 3-D environments has been present for years. On the web, there are already several solutions: Flash; three.js in <canvas>; and, eventually, WebGL. Finally, we meagre front-end developers have our own three-dimensional jewel: CSS 3-D transforms!\n\nRationale\n\nLike a beautiful jewel, 3-D transforms can be dazzling, a true spectacle to behold. But before we start tacking 3-D diamonds and rubies to our compositions like Liberace\u2018s tailor, we owe it to our users to ask how they can benefit from this awesome feature. \n\nAn entire application should not take advantage of 3-D transforms. CSS was built to style documents, not generate explorable environments. I fail to find a benefit to completing a web form that can be accessed by swivelling my viewport to the Sign-Up Room (although there have been proposals to make the web just that). Nevertheless, there are plenty of opportunities to use 3-D transforms in between interactions with the interface, via transitions.\n\nTake, for instance, the Weather App on the iPhone. The application uses two views: a details view; and an options view. Switching between these two views is done with a 3-D flip transition. This informs the user that the interface has two \u2013 and only two \u2013 views, as they can exist only on either side of the same plane.\n\n Flipping from details view to options view via a 3-D transition\n\nAlso, consider slide shows. When you\u2019re looking at the last slide, what cues tip you off that advancing will restart the cycle at the first slide? A better paradigm might be achieved with a 3-D transform, placing the slides side-by-side in a circle (carousel) in three-dimensional space; in that arrangement, the last slide obviously comes before the first.\n\n3-D transforms are more than just eye candy. We can also use them to solve dilemmas and make our applications more intuitive. \n\nCurrent support\n\nThe CSS 3D Transforms module has been out in the wild for over a year now. Currently, only Safari supports the specification \u2013 which includes Safari on Mac OS X and Mobile Safari on iOS. \n\nThe support roadmap for other browsers varies. The Mozilla team has taken some initial steps towards implementing the module. Mike Taylor tells me that the Opera team is keeping a close eye on CSS transforms, and is waiting until the specification is fleshed out. And our best friend Internet Explorer still needs to catch up to 2-D transforms before we can talk about the 3-D variety.\n\nTo make matters more perplexing, Safari\u2019s WebKit cousin Chrome currently accepts 3-D transform declarations, but renders them in 2-D space. Chrome team member Paul Irish, says that 3-D transforms are on the horizon, perhaps in one of the next 8.0 releases.\n\nThis all adds up to a bit of a challenge for those of us excited by 3-D transforms. I\u2019ll give it to you straight: missing the dimension of depth can make degradation a bit ungraceful. Unless the transform is relatively simple and holds up in non-3D-supporting browsers, you\u2019ll most likely have to design another solution. But what\u2019s another hurdle in a steeplechase? We web folk have had our mettle tested for years. We\u2019re prepared to devise multiple solutions.\n\nHere\u2019s the part of the article where I mention Modernizr, and you brush over it because you\u2019ve read this part of an article hundreds of times before. But seriously, it\u2019s the best way to test for CSS 3-D transform support. Use it.\n\nEven with these difficulties mounting up, trying out 3-D transforms today is the right move. The CSS 3-D transforms module was developed by the same team at Apple that produced the CSS 2D Transforms and Animation modules. Both specifications have since been adopted by Mozilla and Opera. Transforming in three-dimensions now will guarantee you\u2019ll be ahead of the game when the other browsers catch up.\n\nThe choice is yours. You can make excuses and pooh-pooh 3-D transforms because they\u2019re too hard and only snobby Apple fans will see them today. Or, with a tip of the fedora to Mr Andy Clarke, you can get hard-boiled and start designing with the best features out there right this instant.\n\nSo, I bid you, in the words of the eternal Optimus Prime\u2026\n\n\n\tTransform and roll out.\n\n\nLet\u2019s get coding.\n\nPerspective\n\nTo activate 3-D space, an element needs perspective. This can be applied in two ways: using the transform property, with the perspective as a functional notation:\n\n-webkit-transform: perspective(600);\n\nor using the perspective property: \n\n-webkit-perspective: 600;\n\nSee example: Perspective 1.\n\n\n\n The red element on the left uses transform: perspective() functional notation; the blue element on the right uses the perspective property\n\n\n\nThese two formats both trigger a 3-D space, but there is a difference. The first, functional notation is convenient for directly applying a 3-D transform on a single element (in the previous example, I use it in conjunction with a rotateY transform). But when used on multiple elements, the transformed elements don\u2019t line up as expected. If you use the same transform across elements with different positions, each element will have its own vanishing point. To remedy this, use the perspective property on a parent element, so each child shares the same 3-D space.\n\nSee Example: Perspective 2.\n\n\n\n Each red box on the left has its own vanishing point within the parent container; the blue boxes on the right share the vanishing point of the parent container\n\n\n\nThe value of perspective determines the intensity of the 3-D effect. Think of it as a distance from the viewer to the object. The greater the value, the further the distance, so the less intense the visual effect. perspective: 2000; yields a subtle 3-D effect, as if we were viewing an object from far away. perspective: 100; produces a tremendous 3-D effect, like a tiny insect viewing a massive object.\n\nBy default, the vanishing point for a 3-D space is positioned at its centre. You can change the position of the vanishing point with perspective-origin property.\n\n-webkit-perspective-origin: 25% 75%;\n\nSee Example: Perspective 3.\n\n\n\n\n\n\n\n3-D transform functions\n\nAs a web designer, you\u2019re probably well acquainted with working in two dimensions, X and Y, positioning items horizontally and vertically. With a 3-D space initialised with perspective, we can now transform elements in all three glorious spatial dimensions, including the third Z dimension, depth. \n\n3-D transforms use the same transform property used for 2-D transforms. If you\u2019re familiar with 2-D transforms, you\u2019ll find the basic 3D transform functions fairly similar. \n\n\n\trotateX(angle)\n\trotateY(angle)\n\trotateZ(angle)\n\ttranslateZ(tz)\n\tscaleZ(sz)\n\n\nWhereas translateX() positions an element along the horizontal X-axis, translateZ() positions it along the Z-axis, which runs front to back in 3-D space. Positive values position the element closer to the viewer, negative values further away.\n\nThe rotate functions rotate the element around the corresponding axis. This is somewhat counter-intuitive at first, as you might imagine that rotateX will spin an object left to right. Instead, using rotateX(45deg) rotates an element around the horizontal X-axis, so the top of the element angles back and away, and the bottom gets closer to the viewer.\n\nSee Example: Transforms 1.\n\n\n\n3-D rotate() and translate() functions around each axis\n\n\n\nThere are also several shorthand transform functions that require values for all three dimensions:\n\n\n\ttranslate3d(tx,ty,tz)\n\tscale3d(sx,sy,sz)\n\trotate3d(rx,ry,rz,angle)\n\n\nPro-tip: These foo3d() transform functions also have the benefit of triggering hardware acceleration in Safari. Dean Jackson, CSS 3-D transform spec author and main WebKit dude, writes (to Thomas Fuchs):\n\n\n\tIn essence, any transform that has a 3D operation as one of its functions will trigger hardware compositing, even when the actual transform is 2D, or not doing anything at all (such as translate3d(0,0,0)). Note this is just current behaviour, and could change in the future (which is why we don\u2019t document or encourage it). But it is very helpful in some situations and can significantly improve redraw performance.\n\n\nFor the sake of simplicity, my demos will use the basic transform functions, but if you\u2019re writing production-ready CSS for iOS or Safari-only, make sure to use the foo3d() functions to get the best rendering performance.\n\nCard flip\n\nWe now have all the tools to start making 3-D objects. Let\u2019s get started with something simple: flipping a card.\n\nHere\u2019s the basic markup we\u2019ll need:\n\n<section class=\"container\">\n  <div id=\"card\">\n    <figure class=\"front\">1</figure>\n    <figure class=\"back\">2</figure>\n  </div>\n</section>\n\nThe .container will house the 3-D space. The #card acts as a wrapper for the 3-D object. Each face of the card has a separate element: .front; and .back. Even for such a simple object, I recommend using this same pattern for any 3-D transform. Keeping the 3-D space element and the object element(s) separate establishes a pattern that is simple to understand and easier to style.\n\nWe\u2019re ready for some 3-D stylin\u2019. First, apply the necessary perspective to the parent 3-D space, along with any size or positioning styles.\n\n.container { \n  width: 200px;\n  height: 260px;\n  position: relative;\n  -webkit-perspective: 800;\n}\n\nNow the #card element can be transformed in its parent\u2019s 3-D space. We\u2019re combining absolute and relative positioning so the 3-D object is removed from the flow of the document. We\u2019ll also add width: 100%;  and height: 100%;. This ensures the object\u2019s transform-origin will occur in the centre of .container. More on transform-origin later. \n\nLet\u2019s add a CSS3 transition so users can see the transform take effect. \n\n#card {\n  width: 100%;\n  height: 100%;\n  position: absolute;\n  -webkit-transform-style: preserve-3d;\n  -webkit-transition: -webkit-transform 1s;\n}\n\nThe .container\u2019s perspective only applies to direct descendant children, in this case #card. In order for subsequent children to inherit a parent\u2019s perspective, and live in the same 3-D space, the parent can pass along its perspective with transform-style: preserve-3d. Without 3-D transform-style, the faces of the card would be flattened with its parents and the back face\u2019s rotation would be nullified. \n\nTo position the faces in 3-D space, we\u2019ll need to reset their positions in 2-D with position: absolute. In order to hide the reverse sides of the faces when they are faced away from the viewer, we use backface-visibility: hidden. \n\n#card figure {\n  display: block;\n  position: absolute;\n  width: 100%;\n  height: 100%;\n  -webkit-backface-visibility: hidden;\n}\n\nTo flip the .back face, we add a basic 3-D transform of rotateY(180deg). \n\n#card .front {\n  background: red;\n}\n#card .back {\n  background: blue;\n  -webkit-transform: rotateY(180deg);\n}\n\nWith the faces in place, the #card requires a corresponding style for when it is flipped.\n\n#card.flipped {\n  -webkit-transform: rotateY(180deg);\n}\n\nNow we have a working 3-D object. To flip the card, we can toggle the flipped class. When .flipped, the #card will rotate 180 degrees, thus exposing the .back face.\n\nSee Example: Card 1.\n\n\n\nFlipping a card in three dimensions\n\n\n\nSlide-flip\n\nTake another look at the Weather App 3-D transition. You\u2019ll notice that it\u2019s not quite the same effect as our previous demo. If you follow the right edge of the card, you\u2019ll find that its corners stay within the container. Instead of pivoting from the horizontal centre, it pivots on that right edge. But the transition is not just a rotation \u2013 the edge moves horizontally from right to left. We can reproduce this transition just by modifying a couple of lines of CSS from our original card flip demo.\n\nThe pivot point for the rotation occurs at the right side of the card. By default, the transform-origin of an element is at its horizontal and vertical centre (50% 50% or center center). Let\u2019s change it to the right side:\n\n#card { -webkit-transform-origin: right center; }\n\nThat flip now needs some horizontal movement with translateX. We\u2019ll set the rotation to -180deg so it flips right side out.\n\n#card.flipped {\n  -webkit-transform: translateX(-100%) rotateY(-180deg);\n}\n\nSee Example: Card 2.\n\n\n\nCreating a slide-flip from the right edge of the card\n\n\n\nCube\n\nCreating 3-D card objects is a good way to get started with 3-D transforms. But once you\u2019ve mastered them, you\u2019ll be hungry to push it further and create some true 3-D objects: prisms. We\u2019ll start out by making a cube.\n\nThe markup for the cube is similar to the card. This time, however, we need six child elements for all six faces of the cube:\n\n<section class=\"container\">\n  <div id=\"cube\">\n    <figure class=\"front\">1</figure>\n    <figure class=\"back\">2</figure>\n    <figure class=\"right\">3</figure>\n    <figure class=\"left\">4</figure>\n    <figure class=\"top\">5</figure>\n    <figure class=\"bottom\">6</figure>\n  </div>\n</section>\n\nBasic position and size styles set the six faces on top of one another in the container.\n\n.container {\n  width: 200px;\n  height: 200px;\n  position: relative;\n  -webkit-perspective: 1000;\n}\n#cube {\n  width: 100%;\n  height: 100%;\n  position: absolute;\n  -webkit-transform-style: preserve-3d;\n}\n#cube figure {\n  width: 196px;\n  height: 196px;\n  display: block;\n  position: absolute;\n  border: 2px solid black;\n}\n\nWith the card, we only had to rotate its back face. The cube, however, requires that five of the six faces to be rotated. Faces 1 and 2 will be the front and back. Faces 3 and 4 will be the sides. Faces 5 and 6 will be the top and bottom.\n\n#cube .front { -webkit-transform: rotateY(0deg); }\n#cube .back { -webkit-transform: rotateX(180deg); }\n#cube .right { -webkit-transform: rotateY(90deg); }\n#cube .left { -webkit-transform: rotateY(-90deg); }\n#cube .top { -webkit-transform: rotateX(90deg); }\n#cube .bottom { -webkit-transform: rotateX(-90deg); }\n\nWe could remove the first #cube .front style declaration, as this transform has no effect, but let\u2019s leave it in to keep our code consistent.\n\nNow each face is rotated, and only the front face is visible. The four side faces are all perpendicular to the viewer, so they appear invisible. To push them out to their appropriate sides, they need to be translated out from the centre of their positions. Each side of the cube is 200 pixels wide. From the cube\u2019s centre they\u2019ll need to be translated out half that distance, 100px.\n\n#cube .front { -webkit-transform: rotateY(0deg) translateZ(100px); }\n#cube .back { -webkit-transform: rotateX(180deg) translateZ(100px); }\n#cube .right { -webkit-transform: rotateY(90deg) translateZ(100px); }\n#cube .left { -webkit-transform: rotateY(-90deg) translateZ(100px); }\n#cube .top { -webkit-transform: rotateX(90deg) translateZ(100px); }\n#cube .bottom { -webkit-transform: rotateX(-90deg) translateZ(100px); }\n\nNote here that the translateZ function comes after the rotate. The order of transform functions is important. Take a moment and soak this up. Each face is first rotated towards its position, then translated outward in a separate vector.\n\nWe have a working cube, but we\u2019re not done yet.\n\nReturning to the Z-axis origin\n\nFor the sake of our users, our 3-D transforms should not distort the interface when the active panel is at its resting position. But once we start pushing elements off their Z-axis origin, distortion is inevitable. \n\nIn order to keep 3-D transforms snappy, Safari composites the element, then applies the transform. Consequently, anti-aliasing on text will remain whatever it was before the transform was applied. When transformed forward in 3-D space, significant pixelation can occur. \n\nSee Example: Transforms 2.\n\n\n\n\n\n\n\nLooking back at the Perspective 3 demo, note that no matter how small the perspective value is, or wherever the transform-origin may be, the panel number 1 always returns to its original position, as if all those funky 3-D transforms didn\u2019t even matter.\n\nTo resolve the distortion and restore pixel perfection to our #cube, we can push the 3-D object back, so that the front face will be positioned back to the Z-axis origin.\n\n#cube { -webkit-transform: translateZ(-100px); }\n\nSee Example: Cube 1.\n\n\n\nRestoring the front face to the original position on the Z-axis\n\n\n\nRotating the cube\n\nTo expose any face of the cube, we\u2019ll need a style that rotates the cube to expose any face. The transform values are the opposite of those for the corresponding face. We toggle the necessary class on the #box to apply the appropriate transform.\n\n#cube.show-front { -webkit-transform: translateZ(-100px) rotateY(0deg); }\n#cube.show-back { -webkit-transform: translateZ(-100px) rotateX(-180deg); }\n#cube.show-right { -webkit-transform: translateZ(-100px) rotateY(-90deg); }\n#cube.show-left { -webkit-transform: translateZ(-100px) rotateY(90deg); }\n#cube.show-top { -webkit-transform: translateZ(-100px) rotateX(-90deg); }\n#cube.show-bottom { -webkit-transform: translateZ(-100px) rotateX(90deg); }\n\nNotice how the order of the transform functions has reversed. First, we push the object back with translateZ, then we rotate it.\n\nFinishing up, we can add a transition to animate the rotation between states. \n\n#cube { -webkit-transition: -webkit-transform 1s; }\n\nSee Example: Cube 2.\n\n\n\nRotating the cube with a CSS transition\n\n\n\nRectangular prism\n\nCubes are easy enough to generate, as we only have to worry about one measurement. But how would we handle a non-regular rectangular prism? Let\u2019s try to make one that\u2019s 300 pixels wide, 200 pixels high, and 100 pixels deep. \n\nThe markup remains the same as the #cube, but we\u2019ll switch the cube id for #box. The container styles remain mostly the same:\n\n.container {\n  width: 300px;\n  height: 200px;\n  position: relative;\n  -webkit-perspective: 1000;\n}\n#box {\n  width: 100%;\n  height: 100%;\n  position: absolute;\n  -webkit-transform-style: preserve-3d;\n}\n\nNow to position the faces. Each set of faces will need their own sizes. The smaller faces (left, right, top and bottom) need to be positioned in the centre of the container, where they can be easily rotated and then shifted outward. The thinner left and right faces get positioned left: 100px ((300\u2009\u2212\u2009100)\u2009\u00f7\u20092), The stouter top and bottom faces get positioned top: 50px ((200\u2009\u2212\u2009100)\u2009\u00f7\u20092).\n\n#box figure {\n  display: block;\n  position: absolute;\n  border: 2px solid black;\n}\n#box .front,\n#box .back {\n  width: 296px;\n  height: 196px;\n}\n#box .right,\n#box .left {\n  width: 96px;\n  height: 196px;\n  left: 100px;\n}\n#box .top,\n#box .bottom {\n  width: 296px;\n  height: 96px;\n  top: 50px;\n}\n\nThe rotate values can all remain the same as the cube example, but for this rectangular prism, the translate values do differ. The front and back faces are each shifted out 50 pixels since the #box is 100 pixels deep. The translate value for the left and right faces is 150 pixels for their 300 pixels width. Top and bottom panels take 100 pixels for their 200 pixels height:\n\n#box .front { -webkit-transform: rotateY(0deg) translateZ(50px); }\n#box .back { -webkit-transform: rotateX(180deg) translateZ(50px); }\n#box .right { -webkit-transform: rotateY(90deg) translateZ(150px); }\n#box .left { -webkit-transform: rotateY(-90deg) translateZ(150px); }\n#box .top { -webkit-transform: rotateX(90deg) translateZ(100px); }\n#box .bottom { -webkit-transform: rotateX(-90deg) translateZ(100px); }\n\nSee Example: Box 1.\n\n\n\n\n\n\n\nJust like the cube example, to expose a face, the #box needs to have a style to reverse that face\u2019s transform. Both the translateZ and rotate values are the opposites of the corresponding face.\n\n#box.show-front { -webkit-transform: translateZ(-50px) rotateY(0deg); }\n#box.show-back { -webkit-transform: translateZ(-50px) rotateX(-180deg); }\n#box.show-right { -webkit-transform: translateZ(-150px) rotateY(-90deg); }\n#box.show-left { -webkit-transform: translateZ(-150px) rotateY(90deg); }\n#box.show-top { -webkit-transform: translateZ(-100px) rotateX(-90deg); }\n#box.show-bottom { -webkit-transform: translateZ(-100px) rotateX(90deg); }\n\nSee Example: Box 2.\n\n\n\nRotating the rectangular box with a CSS transition\n\n\n\nCarousel\n\nFront-end developers have a myriad of choices when it comes to content carousels. Now that we have 3-D capabilities in our browsers, why not take a shot at creating an actual 3-D carousel?\n\nThe markup for this demo takes the same form as the box, cube and card. Let\u2019s make it interesting and have a carousel with nine panels.\n\n<div class=\"container\">\n  <div id=\"carousel\">\n    <figure>1</figure>\n    <figure>2</figure>\n    <figure>3</figure>\n    <figure>4</figure>\n    <figure>5</figure>\n    <figure>6</figure>\n    <figure>7</figure>\n    <figure>8</figure>\n    <figure>9</figure>\n  </div>\n</div>\n\nNow, apply basic layout styles. Let\u2019s give each panel of the #carousel 20 pixel gaps between one another, done here with left: 10px; and top: 10px;. The effective width of each panel is 210 pixels.\n\n.container {\n  width: 210px;\n  height: 140px;\n  position: relative;\n  -webkit-perspective: 1000;\n}\n#carousel {\n  width: 100%;\n  height: 100%;\n  position: absolute;\n  -webkit-transform-style: preserve-3d;\n}\n#carousel figure {\n  display: block;\n  position: absolute;\n  width: 186px;\n  height: 116px;\n  left: 10px;\n  top: 10px;\n  border: 2px solid black;\n}\n\nNext up: rotating the faces. This #carousel has nine panels. If each panel gets an equal distribution on the carousel, each panel would be rotated forty degrees from its neighbour (360\u2009\u00f7\u20099).\n\n#carousel figure:nth-child(1) { -webkit-transform: rotateY(0deg); }\n#carousel figure:nth-child(2) { -webkit-transform: rotateY(40deg); }\n#carousel figure:nth-child(3) { -webkit-transform: rotateY(80deg); }\n#carousel figure:nth-child(4) { -webkit-transform: rotateY(120deg); }\n#carousel figure:nth-child(5) { -webkit-transform: rotateY(160deg); }\n#carousel figure:nth-child(6) { -webkit-transform: rotateY(200deg); }\n#carousel figure:nth-child(7) { -webkit-transform: rotateY(240deg); }\n#carousel figure:nth-child(8) { -webkit-transform: rotateY(280deg); }\n#carousel figure:nth-child(9) { -webkit-transform: rotateY(320deg); }\n\nNow, the outward shift. Back when we were creating the cube and box, the translate value was simple to calculate, as it was equal to one half the width, height or depth of the object. With this carousel, there is no size we can automatically use as a reference. We\u2019ll have to calculate the distance of the shift by other means.\n\n\n\nDrawing a diagram of the carousel, we can see that we know only two things: the width of each panel is 210 pixels; and the each panel is rotated forty degrees from the next. If we split one of these segments down its centre, we get a right-angled triangle, perfect for some trigonometry.\n\nWe can determine the length of r in this diagram with a basic tangent equation:\n\n\n\nThere you have it: the panels need to be translated 288 pixels in 3-D space. \n\n#carousel figure:nth-child(1) { -webkit-transform: rotateY(0deg) translateZ(288px); }\n#carousel figure:nth-child(2) { -webkit-transform: rotateY(40deg) translateZ(288px); }\n#carousel figure:nth-child(3) { -webkit-transform: rotateY(80deg) translateZ(288px); }\n#carousel figure:nth-child(4) { -webkit-transform: rotateY(120deg) translateZ(288px); }\n#carousel figure:nth-child(5) { -webkit-transform: rotateY(160deg) translateZ(288px); }\n#carousel figure:nth-child(6) { -webkit-transform: rotateY(200deg) translateZ(288px); }\n#carousel figure:nth-child(7) { -webkit-transform: rotateY(240deg) translateZ(288px); }\n#carousel figure:nth-child(8) { -webkit-transform: rotateY(280deg) translateZ(288px); }\n#carousel figure:nth-child(9) { -webkit-transform: rotateY(320deg) translateZ(288px); }\n\nIf we decide to change the width of the panel or the number of panels, we only need to plug in those two variables into our equation to get the appropriate translateZ value. In JavaScript terms, that equation would be:\n\nvar tz = Math.round( ( panelSize / 2 ) / \n  Math.tan( ( ( Math.PI * 2 ) / numberOfPanels ) / 2 ) );\n// or simplified to\nvar tz = Math.round( ( panelSize / 2 ) / \n  Math.tan( Math.PI / numberOfPanels ) );\n\nJust like our previous 3-D objects, to show any one panel we need only apply the reverse transform on the carousel. Here\u2019s the style to show the fifth panel:\n\n-webkit-transform: translateZ(-288px) rotateY(-160deg);\n\nSee Example: Carousel 1.\n\n\n\n\n\n\n\nBy now, you probably have two thoughts: \n\n\n\tRewriting transform styles for each panel looks tedious.\n\tWhy bother doing high school maths? Aren\u2019t robots supposed to be doing all this work for us?\n\n\nAnd you\u2019re absolutely right. The repetitive nature of 3-D objects lends itself to scripting. We can offload all the monotonous transform styles to our dynamic script, which, if done correctly, will be more flexible than the hard-coded version.\n\nSee Example: Carousel 2.\n\nConclusion\n\n3-D transforms change the way we think about the blank canvas of web design. Better yet, they change the canvas itself, trading in the flat surface for voluminous depth.\n\nMy hope is that you took at least one peak at a demo and were intrigued. We web designers, who have rejoiced for border-radius, box-shadow and background gradients, now have an incredible tool at our disposal in 3-D transforms. They deserve just the same enthusiasm, research and experimentation we have seen on other CSS3 features. Now is the perfect time to take the plunge and start thinking about how to use three dimensions to elevate our craft. I\u2019m breathless waiting for what\u2019s to come. \n\nSee you on the flip side.", "year": "2010", "author": "David DeSandro", "author_slug": "daviddesandro", "published": "2010-12-14T00:00:00+00:00", "url": "https://24ways.org/2010/intro-to-css-3d-transforms/", "topic": "code"}
{"rowid": 231, "title": "Designing for iOS: Life Beyond Media Queries", "contents": "Although not a new phenomenon, media queries seem to be getting a lot attention online recently and for the right reasons too \u2013 it\u2019s great to be able to adapt a design with just a few lines of CSS \u2013 but many people are relying only on them to create an iPhone-specific version of their website. \n\nI was pleased to hear at FOWD NYC a few weeks ago that both myself and Aral Balkan share the same views on why media queries aren\u2019t always going to be the best solution for mobile. Both of us specialise in iPhone design ourselves and we opt for a different approach to media queries. The trouble is, regardless of what you have carefully selected to be display:none; in your CSS, the iPhone still loads everything in the background; all that large imagery for your full scale website also takes up valuable mobile bandwidth and time.\n\nYou can greatly increase the speed of your website by creating a specific site tailored to mobile users with just a few handy pointers \u2013 media queries, in some instances, might be perfectly suitable but, in others, here\u2019s what you can do.\n\nRedirect your iPhone/iPod Touch users\n\nTo detect whether someone is viewing your site on an iPhone or iPod Touch, you can either use JavaScript or PHP. \n\nThe JavaScript \n\nif((navigator.userAgent.match(/iPhone/i)) || (navigator.userAgent.match(/iPod/i))) { \n    if (document.cookie.indexOf(\"iphone_redirect=false\") == -1) window.location = \"http://mobile.yoursitehere.com\"; \n}\n\nThe PHP\n\nif(strstr($_SERVER['HTTP_USER_AGENT'],'iPhone') || strstr($_SERVER['HTTP_USER_AGENT'],'iPod')) \n{\n    header('Location: http://mobile.yoursitehere.com');\n    exit();\n}\n\nBoth of these methods redirect the user to a site that you have made specifically for the iPhone. At this point, be sure to provide a link to the full version of the website, in case the user wishes to view this and not be thrown into an experience they didn\u2019t want, with no way back.\n\nTailoring your site\n\nSo, now you\u2019ve got 320\u2009\u00d7\u2009480 pixels of screen to play with \u2013 and to create a style sheet for, just as you would for any other site you build. There are a few other bits and pieces that you can add to your code to create a site that feels more like a fully immersive iPhone app rather than a website.\n\nRetina display\n\nWhen building your website specifically tailored to the iPhone, you might like to go one step further and create a specific style sheet for iPhone 4\u2019s Retina display. Because there are four times as many pixels on the iPhone 4 (640\u2009\u00d7\u2009960 pixels), you\u2019ll find specifics such as text shadows and borders will have to be increased. \n\n<link rel=\"stylesheet\" \n   media=\"only screen and (-webkit-min-device-pixel-ratio: 2)\" \n   type=\"text/css\" href=\"../iphone4.css\" />\n\n(Credit to Thomas Maier)\n\nPrevent user scaling\n\nThis declaration, added into the <head>, stops the user being able to pinch-zoom in and out of your design, which is perfect if you are designing to the exact pixel measurements of the iPhone screen. \n\n<meta name=\"viewport\" \n   content=\"width=device-width; initial-scale=1.0; maximum-scale=1.0;\">\n\nDesigning for orientation \n\nAs iPhones aren\u2019t static devices, you\u2019ll also need to provide a style sheet for horizontal orientation. We can do this by inserting some JavaScript into the <head> as follows: \n\n<script type=\"text/javascript\">\nfunction orient() {\n    switch(window.orientation) {\n        case 0: \n            document.getElementById(\"orient_css\").href = \"css/iphone_portrait.css\";\n            break;\n        case -90: \n            document.getElementById(\"orient_css\").href = \"css/iphone_landscape.css\";\n            break;\n        case 90: \n            document.getElementById(\"orient_css\").href = \"css/iphone_landscape.css\";\n            break;\n    }\n}\nwindow.onload = orient();\n</script>\n\nYou can also specify orientation styles using media queries. This is absolutely fine, as by this point you\u2019ll already be working with mobile-specific graphics and have little need to set a lot of things to display:none;\n\n<link rel=\"stylesheet\" \n   media=\"only screen and (max-device-width: 480px)\" href=\"/iphone.css\">\n<link rel=\"stylesheet\" \n   media=\"only screen and (orientation: portrait)\" href=\"/portrait.css\">\n<link rel=\"stylesheet\" \n   media=\"only screen and (orientation: landscape)\u201d href=\"/landscape.css\">\n\nRemove the address and status bars, top and bottom\n\nTo give you more room on-screen and to make your site feel more like an immersive web app, you can place the following declaration into the <head> of your document\u2019s code to remove the address and status bars at the top and bottom of the screen. \n\n<meta name=\"apple-mobile-web-app-capable\" content=\"yes\" />\n\nMaking the most of inbuilt functions\n\nSimilar to mailto: e-mail links, the iPhone also supports another two handy URI schemes which are great for enhancing contact details. When tapped, the following links will automatically bring up the appropriate call or text interface:\n\n<a href=\"tel:01234567890\">Call us</a>\n<a href=\"sms:01234567890\">Text us</a>\n\niPhone-specific Web Clip icon\n\nAlthough I believe them to be fundamentally flawed, since they rely on the user bookmarking your site, iPhone Web Clip icons are still a nice touch. You need just two declarations, again in the <head> of your document:\n\n<link rel=\"apple-touch-icon\" href=\"icons/regular_icon.png\" />\n<link rel=\"apple-touch-icon\" sizes=\"114x114\" href=\"icons/retina_icon.png\" />\n\nFor iPhone 4 you\u2019ll need to create a 114\u2009\u00d7\u2009114 pixels icon; for a non-Retina display, a 57\u2009\u00d7\u200957 pixels icon will do the trick.\n\nPrecomposed \n\nApple adds its standard gloss \u2018moon\u2019 over the top of any icon. If you feel this might be too much for your particular icon and would prefer a matte finish, you can add precomposed to the end of the apple-touch-icon declaration to remove the standard gloss. \n\n<link rel=\"apple-touch-icon-precomposed\" href=\"/images/touch-icon.png\" />\n\nWrapping up\n\nMedia queries definitely have their uses. They make it easy to build a custom experience for your visitor, regardless of their browser\u2019s size. For more complex sites, however, or where you have lots of imagery and other content that isn\u2019t necessary on the mobile version, you can now use these other methods to help you out. Remember, they are purely for presentation and not optimisation; for busy people on the go, optimisation and faster-running mobile experiences can only be a good thing. \n\nHave a wonderful Christmas fellow Webbies!", "year": "2010", "author": "Sarah Parmenter", "author_slug": "sarahparmenter", "published": "2010-12-17T00:00:00+00:00", "url": "https://24ways.org/2010/life-beyond-media-queries/", "topic": "code"}
{"rowid": 240, "title": "My CSS Wish List", "contents": "I love Christmas. I love walking around the streets of London, looking at the beautifully decorated windows, seeing the shiny lights that hang above Oxford Street and listening to Christmas songs.\n\nI\u2019m not going to lie though. Not only do I like buying presents, I love receiving them too. I remember making long lists that I would send to Father Christmas with all of the Lego sets I wanted to get. I knew I could only get one a year, but I would spend days writing the perfect list.\n\nThe years have gone by, but I still enjoy making wish lists. And I\u2019ll tell you a little secret: my mum still asks me to send her my Christmas list every year.\n\nThis time I\u2019ve made my CSS wish list. As before, I\u2019d be happy with just one present.\n\nBefore I begin\u2026\n\n\u2026 this list includes:\n\n\n\tthings that don\u2019t exist in the CSS specification (if they do, please let me know in the comments \u2013 I may have missed them);\n\tothers that are in the spec, but it\u2019s incomplete or lacks use cases and examples (which usually means that properties haven\u2019t been implemented by even the most recent browsers).\n\n\nLike with any other wish list, the further down I go, the more unrealistic my expectations \u2013 but that doesn\u2019t mean I can\u2019t wish. Some of the things we wouldn\u2019t have thought possible a few years ago have been implemented and our wishes fulfilled (think multiple backgrounds, gradients and transformations, for example).\n\nThe list\n\nCross-browser implementation of font-size-adjust\n\nWhen one of the fall-back fonts from your font stack is used, rather than the preferred (first) one, you can retain the aspect ratio by using this very useful property. It is incredibly helpful when the fall-back fonts are smaller or larger than the initial one, which can make layouts look less polished.\n\nWhat font-size-adjust does is divide the original font-size of the fall-back fonts by the font-size-adjust value. This preserves the x-height of the preferred font in the fall-back fonts. Here\u2019s a simple example:\n\np {\n    font-family: Calibri, \"Lucida Sans\", Verdana, sans-serif;\n    font-size-adjust: 0.47;\n}\n\nIn this case, if the user doesn\u2019t have Calibri installed, both Lucida Sans and Verdana will keep Calibri\u2019s aspect ratio, based on the font\u2019s x-height. This property is a personal favourite and one I keep pointing to.\n\nFirefox supported this property from version three. So far, it\u2019s the only browser that does. Fontdeck provides the font-size-adjust value along with its fonts, and has a handy tool for calculating it.\n\nMore control over overflowing text\n\nThe text-overflow property lets you control text that overflows its container. The most common use for it is to show an ellipsis to indicate that there is more text than what is shown. To be able to use it, the container should have overflow set to something other than visible, and white-space: nowrap:\n\ndiv {\n    white-space: nowrap;\n    width: 100%;\n    overflow: hidden;\n    text-overflow: ellipsis;\n}\n\nThis, however, only works for blocks of text on a single line. In the wish list of many CSS authors (and in mine) is a way of defining text-overflow: ellipsis on a block of multiple text lines. Opera has taken the first step and added support for the -o-ellipsis-lastline property, which can be used instead of ellipsis. This property is not part of the CSS3 spec, but we could certainly make good use of it if it were\u2026\n\nWebKit has -webkit-line-clamp to specify how many lines to show before cutting with an ellipsis, but support is patchy at best and there is no control over where the ellipsis shows in the text. Many people have spent time wrangling JavaScript to do this for us, but the methods used are very processor intensive, and introduce a JavaScript dependency.\n\nIndentation and hanging punctuation properties\n\nYou might notice a trend here: almost half of the items in this list relate to typography. The lack of fine-grained control over typographical detail is a general concern among designers and CSS authors. Indentation and hanging punctuation fall into this category.\n\nThe CSS3 specification introduces two new possible values for the text-indent property: each-line; and hanging. each-line would indent the first line of the block container and each line after a forced line break; hanging would invert which lines are affected by the indentation.\n\nThe proposed hanging-punctuation property would allow us to specify whether opening and closing brackets and quotes should hang outside the edge of the first and last lines. The specification is still incomplete, though, and asks for more examples and use cases.\n\nText alignment and hyphenation properties\n\nFollowing the typographic trend of this list, I\u2019d like to add better control over text alignment and hyphenation properties. The CSS3 module on Generated Content for Paged Media already specifies five new hyphenation-related properties (namely: hyphenate-dictionary; hyphenate-before and hyphenate-after; hyphenate-lines; and hyphenate-character), but it is still being developed and lacks examples.\n\nIn the text alignment realm, the new text-align-last property allows you to define how the last line of a block (or a line just before a forced break) is aligned, if your text is set to justify. Its value can be: start; end; left; right; center; and justify. The text-justify property should also allow you to have more control over text set to text-align: justify but, for now, only Internet Explorer supports this.\n\ncalc()\n\nThis is probably my favourite item in the list: the calc() function. This function is part of the CSS3 Values and Units module, but it has only been implemented by Firefox (4.0). To take advantage of it now you need to use the Mozilla vendor code, -moz-calc().\n\nImagine you have a fluid two-column layout where the sidebar column has a fixed width of 240 pixels, and the main content area fills the rest of the width available. This is how you could create that using -moz-calc():\n\n#main {\n    width: -moz-calc(100% - 240px);\n}\n\nCan you imagine how many hacks and headaches we could avoid were this function available in more browsers? Transitions and animations are really nice and lovely but, for me, it\u2019s the ability to do the things that calc() allows you to that deserves the spotlight and to be pushed for implementation.\n\nSelector grouping with -moz-any()\n\nThe -moz-any() selector grouping has been introduced by Mozilla but it\u2019s not part of any CSS specification (yet?); it\u2019s currently only available on Firefox 4.\n\nThis would be especially useful with the way HTML5 outlines documents, where we can have any number of variations of several levels of headings within numerous types of containers (think sections within articles within sections\u2026).\n\nHere is a quick example (copied from the Mozilla blog post about the article) of how -moz-any() works. Instead of writing:\n\nsection section h1, section article h1, section aside h1,\nsection nav h1, article section h1, article article h1,\narticle aside h1, article nav h1, aside section h1,\naside article h1, aside aside h1, aside nav h1, nav section h1,\nnav article h1, nav aside h1, nav nav h1, {\n    font-size: 24px;\n}\n\nYou could simply write:\n\n-moz-any(section, article, aside, nav)\n-moz-any(section, article, aside, nav) h1 {\n    font-size: 24px;\n}\n\nNice, huh?\n\nMore control over styling form elements\n\nSome are of the opinion that form elements shouldn\u2019t be styled at all, since a user might not recognise them as such if they don\u2019t match the operating system\u2019s controls. I partially agree: I\u2019d rather put the choice in the hands of designers and expect them to be capable of deciding whether their particular design hampers or improves usability.\n\nI would say the same idea applies to font-face: while some fear designers might go crazy and litter their web pages with dozens of different fonts, most welcome the freedom to use something other than Arial or Verdana.\n\nThere will always be someone who will take this freedom too far, but it would be useful if we could, for example, style the default Opera date picker:\n\n<input type=\"date\" />\n\n\n\nor Safari\u2019s slider control (think star movie ratings, for example):\n\n<input type=\"range\" min=\"0\" max=\"5\" step=\"1\" value=\"3\" />\n\n\n\nParent selector\n\nI don\u2019t think there is one CSS author out there who has never come across a case where he or she wished there was a parent selector. There have been many suggestions as to how this could work, but a variation of the child selector is usually the most popular:\n\narticle < h1 {\n\u2026\n}\n\nOne can dream\u2026\n\nFlexible box layout\n\nThe Flexible Box Layout Module sounds a bit like magic: it introduces a new box model to CSS, allowing you to distribute and order boxes inside other boxes, and determine how the available space is shared.\n\nTwo of my favourite features of this new box model are:\n\n\n\tthe ability to redistribute boxes in a different order from the markup\n\tthe ability to create flexible layouts, where boxes shrink (or expand) to fill the available space\n\n\nLet\u2019s take a quick look at the second case. Imagine you have a three-column layout, where the first column takes up twice as much horizontal space as the other two:\n\n<body>\n        <section id=\"main\">\n        </section>\n        <section id=\"links\">\n        </section>\n        <aside>\n        </aside>\n</body>\n\nWith the flexible box model, you could specify it like this:\n\nbody {\n    display: box;\n    box-orient: horizontal;\n}\n#main {\n    box-flex: 2;\n}\n#links {\n    box-flex: 1;\n}\naside {\n    box-flex: 1;\n}\n\nIf you decide to add a fourth column to this layout, there is no need to recalculate units or percentages, it\u2019s as easy as that.\n\nBrowser support for this property is still in its early stages (Firefox and WebKit need their vendor prefixes), but we should start to see it being gradually introduced as more attention is drawn to it (I\u2019m looking at you\u2026). You can read a more comprehensive write-up about this property on the Mozilla developer blog.\n\nIt\u2019s easy to understand why it\u2019s harder to start playing with this module than with things like animations or other more decorative properties, which don\u2019t really break your layouts when users don\u2019t see them. But it\u2019s important that we do, even if only in very experimental projects.\n\nNested selectors\n\nAnyone who has never wished they could do something like the following in CSS, cast the first stone:\n\narticle {\n    h1 { font-size: 1.2em; }\n    ul { margin-bottom: 1.2em; }\n}\n\nEven though it can easily turn into a specificity nightmare and promote redundancy in your style sheets (if you abuse it), it\u2019s easy to see how nested selectors could be useful. CSS compilers such as Less or Sass let you do this already, but not everyone wants or can use these compilers in their projects.\n\nEvery wish list has an item that could easily be dropped. In my case, I would say this is one that I would ditch first \u2013 it\u2019s the least useful, and also the one that could cause more maintenance problems. But it could be nice.\n\nImplementation of the ::marker pseudo-element\n\nThe CSS Lists module introduces the ::marker pseudo-element, that allows you to create custom list item markers. When an element\u2019s display property is set to list-item, this pseudo-element is created.\n\nUsing the ::marker pseudo-element you could create something like the following:\n\nFootnote 1:  Both John Locke and his father, Anthony Cooper, are\nnamed after 17th- and 18th-century English philosophers; the real\nAnthony Cooper was educated as a boy by the real John Locke.\nFootnote 2:  Parts of the plane were used as percussion instruments\nand can be heard in the soundtrack.\n\nwhere the footnote marker is generated by the following CSS:\n\nli::marker {\n    content: \"Footnote \" counter(notes) \":\";\n    text-align: left;\n    width: 12em;\n}\nli {\n    counter-increment: notes;\n}\n\nYou can read more about how to use counters in CSS in my article from last year.\n\nBear in mind that the CSS Lists module is still a Working Draft and is listed as \u201cLow priority\u201d. I did say this wish list would start to grow more unrealistic closer to the end\u2026\n\nVariables\n\nThe sight of the word \u2018variables\u2019 may make some web designers shy away, but when you think of them applied to things such as repeated colours in your stylesheets, it\u2019s easy to see how having variables available in CSS could be useful.\n\nThink of a website where the main brand colour is applied to elements like the main text, headings, section backgrounds, borders, and so on. In a particularly large website, where the colour is repeated countless times in the CSS and where it\u2019s important to keep the colour consistent, using variables would be ideal (some big websites are already doing this by using server-side technology).\n\nAgain, Less and Sass allow you to use variables in your CSS but, again, not everyone can (or wants to) use these.\n\nIf you are using Less, you could, for instance, set the font-family value in one variable, and simply call that variable later in the code, instead of repeating the complete font stack, like so:\n\n@fontFamily: Calibri, \"Lucida Grande\", \"Lucida Sans Unicode\", Helvetica, Arial, sans-serif;\nbody {\n    font-family: @fontFamily;\n}\n\nOther features of these CSS compilers might also be useful, like the ability to \u2018call\u2019 a property value from another selector (accessors):\n\nheader {\n    background: #000000;\n}\nfooter {\n    background: header['background'];\n}\n\nor the ability to define functions (with arguments), saving you from writing large blocks of code when you need to write something like, for example, a CSS gradient:\n\n.gradient (@start:\"\", @end:\"\") {\n    background: -webkit-gradient(linear, left top, left bottom, from(@start), to(@end));\n    background: -moz-linear-gradient(-90deg,@start,@end);\n}\nbutton {\n    .gradient(#D0D0D0,#9F9F9F);\n}\n\nStandardised comments\n\nEach CSS author has his or her own style for commenting their style sheets. While this isn\u2019t a massive problem on smaller projects, where maybe only one person will edit the CSS, in larger scale projects, where dozens of hands touch the code, it would be nice to start seeing a more standardised way of commenting.\n\nOne attempt at creating a standard for CSS comments is CSSDOC, an adaptation of Javadoc (a documentation generator that extracts comments from Java source code into HTML). CSSDOC uses \u2018DocBlocks\u2019, a term borrowed from the phpDocumentor Project. A DocBlock is a human- and machine-readable block of data which has the following structure:\n\n/**\n * Short description\n *\n * Long description (this can have multiple lines and contain <p> tags\n *\n * @tags (optional)\n */\n\nCSSDOC includes a standard for documenting bug fixes and hacks, colours, versioning and copyright information, amongst other important bits of data.\n\nI know this isn\u2019t a CSS feature request per se; rather, it\u2019s just me pointing you at something that is usually overlooked but that could contribute towards keeping style sheets easier to maintain and to hand over to new developers.\n\nFinal notes\n\nI understand that if even some of these were implemented in browsers now, it would be a long time until all vendors were up to speed. But if we don\u2019t talk about them and experiment with what\u2019s available, then it will definitely never happen.\n\nWhy haven\u2019t I mentioned better browser support for existing CSS3 properties? Because that would be the same as adding chocolate to your Christmas wish list \u2013 you don\u2019t need to ask, everyone knows you want it.\n\nThe list could go on. There are dozens of other things I would love to see integrated in CSS or further developed. These are my personal favourites: some might be less useful than others, but I\u2019ve wished for all of them at some point.\n\nPart of the research I did while writing this article was asking some friends what they would add to their lists; other than a couple of items I already had in mine, everything else was different. I\u2019m sure your list would be different too. So tell me, what\u2019s on your CSS wish list?", "year": "2010", "author": "Inayaili de Le\u00f3n Persson", "author_slug": "inayailideleon", "published": "2010-12-03T00:00:00+00:00", "url": "https://24ways.org/2010/my-css-wish-list/", "topic": "code"}
{"rowid": 232, "title": "Optimize Your Web Design Workflow", "contents": "I\u2019m not sure about you, but I still favour using Photoshop to create my designs for the web. I agree that this application, even with its never-ending feature set, is not the perfect environment to design websites in. The ideal application doesn\u2019t exist yet, however, so until it does it\u2019s maybe not such a bad idea to investigate ways to optimize our workflow.\n\nWhy use Photoshop?\n\nIt will probably not come as a surprise if I say that Photoshop and Illustrator are the applications that I know best and feel most comfortable and creative in. Some people prefer Fireworks for web design. Even though I understand people\u2019s motivations, I still prefer Photoshop personally. On the occasions that I gave Fireworks a try, I ended up just using the application to export my images as slices, or to prepare a dummy for the client. For some reason, I\u2019ve never been able to find my way in that app. There were always certain things missing that could only be done in either Photoshop or Illustrator, which bothered me.\n\nWhy not start in the browser?\n\nThese days, with CSS3 styling emerging, there are people who find it more efficient to design in the browser. I agree that at a certain point, once the basic design is all set and defined, you can jump right into the code and go from there. But the actual creative part, at least for me, needs to be done in an application such as Photoshop.\n\nAs a designer I need to be able to create and experiment with shapes on the fly, draw things, move them around, change colours, gradients, effects, and so on. I can\u2019t see me doing this with code. I\u2019m sure if I switch to markup too quickly, I might end up with a rather boxy and less interesting design. Once I start playing with markup, I leave my typical \u2018design zone\u2019. My brain starts thinking differently \u2013 more rational and practical, if you know what I mean; I start to structure and analyse how to mark up my design in the most efficient semantic way. When I design, I tend to let that go for a bit. I think more freely and not so much about the limitations, as it might hinder my creativity. Now that you know my motivations to stick with Photoshop for the time being, let\u2019s see how we can optimize this beast.\n\nOptimize your Photoshop workspace\n\nIn Photoshop CS5 you have a few default workspace options to choose from which can be found at the top right in the Application Bar (Window\u2009>\u2009Application Bar).\n\n\n\nYou can set up your panels and palettes the way you want, starting from the \u2018Design\u2019 workspace option, and save this workspace for future web work. Here is how I have set up things for when I work on a website design:\n\n\n\nI have the layers palette open, and I keep the other palettes collapsed. Sometimes, when space permits, I open them all. For designers who work both on print and web, I think it\u2019s worthwhile to save a workspace for both, or for when you\u2019re doing photo retouching.\n\nSet up a grid\n\nWhen you work a lot with Shape Layers like I do, it\u2019s really helpful to enable the Grid (View\u2009>\u2009Show\u2009>\u2009Grid) in combination with Snap to Grid (View\u2009>\u2009Snap To\u2009>\u2009Grid). This way, your vector-based work will be pixel-sharp, as it will always snap to the grid, and so you don\u2019t end up with blurry borders.\n\n\n\nTo set up your preferred grid, go to Preferences\u2009>\u2009Guides, Grids and Slices. A good setting is to use \u2018Gridline Every 10 pixels\u2019 and \u2018Subdivision 10\u2019. You can switch it on and off at any time using the shortcut Cmd/Ctrl + \u2019.\n\n\n\nIt might also help to turn on Smart Guides (View\u2009>\u2009Show\u2009>\u2009Smart Guides).\n\nAnother important tip for making sure your Shape Layer boxes and other shapes are perfectly aligned to the pixel grid when you draw them is to enable Snap to Pixels. This option can be enabled in the Application bar in the Geometry options dropdown menu when you select one of the shape tools from the toolbox.\n\n\n\nUse Shape Layers\n\nTo keep your design as flexible as possible, it\u2019s a good thing to use Shape Layers wherever you can as they are scalable. I use them when I design for the iPhone. All my icons, buttons, backgrounds, illustrative graphics \u2013 they are all either Smart Objects placed from Illustrator, or Shape Layers. This way, the design is scalable for the retina display.\n\n\n\nUse Smart Objects\n\nAmong the things I like a lot in Photoshop are Smart Objects. Smart Objects preserve an image\u2019s source content with all its original characteristics, enabling you to perform non-destructive editing to the layer. For me, this is the ideal way of making my design flexible.\n\n\n\nFor example, a lot of elements are created in Illustrator and are purely vector-based. Placing these elements in Photoshop as Smart Objects (via copy and paste, or dragging from Illustrator into Photoshop) will keep them vector-based and scalable at all times without loss of quality.\n\n\n\nAnother way you could use Smart Objects is whenever you have repeating elements; for example, if you have a stream or list of repeating items. You could, for instance, create one, two or three different items (for the sake of randomness), make each one a Smart Object, and repeat them to create the list. Then, when you have to update, you need only change the Smart Object, and the update will be automatically applied in all its linked instances.\n\nTurning photos into Smart Objects before you resize them is also worth considering \u2013 you never know when you\u2019ll need that same photo just a bit bigger. It keeps things more flexible, as you leave room to resize the image at a later stage. I use this in combination with the Smart Filters a lot, as it gives me such great flexibility.\n\n\n\nI usually use Smart Objects as well for the main sections of a web page, which are repeated across different pages of a site. So, for elements such as the header, footer and sidebar, it can be handy for bigger projects that are constantly evolving, where you have to create a lot of different pages in Photoshop.\n\nYou could save a template page that has the main sections set up as Smart Objects, always in their latest version. Each time you need to create new page, you can start from that template file. If you need to update an existing page because the footer (or sidebar, or header) has been updated, you can drag the updated Smart Object into this page. Although, do I wish Photoshop made it possible to have Smart Objects live as separate files, which are then linked to my different pages. Then, whenever I update the Smart Object, the pages are automatically updated next time I open the file. This is how linked files work in InDesign and Illustrator when you place a external image.\n\nUse Layer Comps\n\nIn some situations, using Layer Comps can come in handy. I try to use them when the design consists of different states; for example, if there are hidden and show states of certain content, such as when content is shown after clicking a certain button. It can be useful to create a Layer Comp for each state. So, when you switch between the two Layer Comps, you\u2019re switching between the two states.\n\n\n\nIt\u2019s OK to move or hide content in each of these states, as well as apply different layer styles. I find this particularly useful when I need to save separate JPEG versions of each state to show to the client, instead of going over all the eye icons in the layers palette to turn the layers\u2019 visibility on or off.\n\n\n\nCreate a set of custom colour swatches\n\nI tend to use a distinct colour Swatches palette for each project I work on, by saving a separate Swatches palette in project\u2019s folder (as an .ase file). You can do this through the palette\u2019s dropdown menu, choosing Save Swatches for Exchange.\n\n\n\nSelecting this option gives you the flexibility to load this palette in other Adobe applications like Illustrator, InDesign or Fireworks. This way, you have the colours of any particular project at hand. I name each colour, using the hexadecimal values.\n\n\n\nLoading, saving or changing the view of the Swatches palette can be done via the palette\u2019s dropdown menu. My preferred view is \u2018Small List\u2019 so I can see the hexadecimal values or other info I have added in the description.\n\nI do wish Photoshop had the option of loading several different Styles palettes, so I could have two or more of them open at the same time, but each as a separate palette. This would be handy whenever I switch to another project, as I\u2019m usually working on more than one project in a day. At the moment, you can only add a set of colours to the palette that is already open, which is frustrating and inefficient if you need to update the palette of a project separately.\n\nCreate a set of custom Styles\n\nJust like saving a Swatches palette, I also always save the styles I apply in the Styles palette as a separate Styles file in the project\u2019s folder when I work on a website design or design for iPhone/iPad. During the design process, I can save it each time styles are added. Again, though, it would be great if we could have different Styles palettes open at the same time.\n\n\n\nUse a scratch file\n\nWhat I also find particularly timesaving, when working on a large project, is using some kind of scratch file. By that, I mean a file that has elements in place that you reuse a lot in the general design. Think of buttons, icons and so on, that you need in every page or screen design. This is great for both web design work and iPad/iPhone work. \n\n\n\nUse the slice tool\n\nThis might not be something you think of at first, because you probably associate this way of working with \u2018old-school\u2019 table-based techniques. Still, you can apply your slice any way you want, keeping your way of working in mind. Just think about it for a second. If you use the slice tool, and you give each slice its proper filename, you don\u2019t have to worry about it when you need to do updates on the slice or image. Photoshop will remember what the image of that slice is called and which \u2018Save for Web\u2019 export settings you\u2019ve used for it. You can also export multiple slices all at once, or export only the ones you need using \u2018Save selected slices\u2019.\n\n\n\nI hope this list of optimization tips was useful, and that they will help you improve and enjoy your time in Photoshop. That is, until the ultimate web design application makes its appearance. Somebody is building this as we speak, right?", "year": "2010", "author": "Veerle Pieters", "author_slug": "veerlepieters", "published": "2010-12-10T00:00:00+00:00", "url": "https://24ways.org/2010/optimize-your-web-design-workflow/", "topic": "process"}
{"rowid": 218, "title": "Put Yourself in a Corner", "contents": "Some backstory, and a shameful confession\n\nFor the first couple years of high school I was one of those jerks who made only the minimal required effort in school. Strangely enough, how badly I behaved in a class was always in direct proportion to how skilled I was in the subject matter. In the subjects where I was confident that I could pass without trying too hard, I would give myself added freedom to goof off in class.\n\nBecause I was a closeted lit-nerd, I was most skilled in English class. I\u2019d devour and annotate required reading over the weekend, I knew my biblical and mythological allusions up and down, and I could give you a postmodern interpretation of a text like nobody\u2019s business. But in class, I\u2019d sit in the back and gossip with my friends, nap, or scribble patterns in the margins of my textbooks. I was nonchalant during discussion, I pretended not to listen during lectures. I secretly knew my stuff, so I did well enough on tests, quizzes, and essays. But I acted like an ass, and wasn\u2019t getting the most I could out of my education.\n\nThe day of humiliation, but also epiphany\n\nOne day in Ms. Kaney\u2019s AP English Lit class, I was sitting in the back doodling. An earbud was dangling under my sweater hood, attached to the CD player (remember those?) sitting in my desk. Because of this auditory distraction, the first time Ms. Kaney called my name, I barely noticed. I definitely heard her the second time, when she didn\u2019t call my name so much as roar it. I can still remember her five feet frame stomping across the room and grabbing an empty desk. It screamed across the worn tile as she slammed it next to hers. She said, \u201cThis is where you sit now.\u201d My face gets hot just thinking about it.\n\nI gathered my things, including the CD player (which was now impossible to conceal), and made my way up to the newly appointed Seat of Shame. There I sat, with my back to the class, eye-to-eye with Ms. Kaney. From my new vantage point I couldn\u2019t see my friends, or the clock, or the window. All I saw were Ms. Kaney\u2019s eyes, peering at me over her reading glasses while I worked. In addition to this punishment, I was told that from now on, not only would I participate in class discussions, but I would serve detention with her once a week until an undetermined point in the future.\n\nDuring these detentions, Ms. Kaney would give me new books to read, outside the curriculum, and added on to my normal homework. They ranged from classics to modern novels, and she read over my notes on each book. We\u2019d discuss them at length after class, and I grew to value not only our private discussions, but the ones in class as well. After a few weeks, there wasn\u2019t even a question of this being punishment. It was heaven, and I was more productive than ever.\n\nTo the point\n\nPlease excuse this sentimental story. It\u2019s not just about honoring a teacher who cared enough to change my life, it\u2019s really about sharing a lesson. The most valuable education Ms. Kaney gave me had nothing to do with literature. She taught me that I (and perhaps other people who share my special brand of crazy) need to be put in a corner to flourish. When we have physical and mental constraints applied, we  accomplish our best work.\n\nFor those of you still reading, now seems like a good time to insert a pre-emptive word of mediation. Many of you, maybe all of you, are self-disciplined enough that you don\u2019t require the rigorous restrictions I use to maximize productivity. Also, I know many people who operate best in a stimulating and open environment. I would advise everyone to seek and execute techniques that work best for them. But, for those of you who share my inclination towards daydreams and digressions, perhaps you\u2019ll find something useful in the advice to follow.\n\nIn which I pretend to be Special Agent Olivia Dunham\n\nNow that I\u2019m an adult, and no longer have Ms. Kaney to reign me in, I have to find ways to put myself in the corner. By rejecting distraction and shaping an environment designed for intense focus, I\u2019m able to achieve improved productivity.\n\nLately I\u2019ve been obsessed with the TV show Fringe, a sci-fi series about an FBI agent and her team of genius scientists who save the world (no, YOU\u2019RE a nerd). There\u2019s a scene in the show where the primary character has to delve into her subconscious to do extraordinary things, and she accomplishes this by immersing herself in a sensory deprivation tank. The premise is this: when enclosed in a space devoid of sound, smell, or light, she will enter a new plane of consciousness wherein she can tap into new levels of perception.\n\nThis might sound a little nuts, but to me this premise has some real-world application. When I am isolated from distraction, and limited to only the task at hand, I\u2019m able to be productive on a whole new level. Since I can\u2019t actually work in an airtight iron enclosure devoid of input, I find practical ways to create an interruption-free environment.\n\nSince I work from home, many of my methods for coping with distractions wouldn\u2019t be necessary for my office-bound counterpart. However for some of you 9-to-5-ers, the principles will still apply.\n\nConsider your visual input\n\nFirst, I have to limit my scope to the world I can (and need to) affect. In the largest sense, this means closing my curtains to the chaotic scene of traffic, birds, the post office, a convenience store, and generally lovely weather that waits outside my window. When the curtains are drawn and I\u2019m no longer surrounded by this view, my sphere is reduced to my desk, my TV, and my cat. Sometimes this step alone is enough to allow me to focus. \n\nBut, my visual input can be whittled down further still. For example, the desk where I usually keep my laptop is littered with twelve owl figurines, a globe, four books, a three-pound weight, and various nerdy paraphernalia (hard drives, Wacom tablets, unnecessary bluetooth accessories, and so on). It\u2019s not so much a desk as a dumping ground for wacky flea market finds and impulse technology buys. Therefore, in addition to this Official Desk, I have an adult version of Ms. Kaney\u2019s Seat of Shame. It\u2019s a rusty old student\u2019s desk I picked up at the Salvation Army, almost an exact replica of the model Ms. Kaney dragged across the classroom all those years ago.  This tiny reproduction Seat of Shame is literally in a corner, where my only view is a blank wall. When I truly need to focus, this is where I take refuge, with only a notebook and a pencil (and occasionally an iPad).\n\nFind out what works for your ears\n\nEven from my limited sample size of two people, I know there are lots of different ways to cope with auditory distraction. I prefer silence when focused on independent work, and usually employ some form of a white noise generator. I\u2019ve yet to opt for the fancy \u2018real\u2019 white noise machines; instead, I use a desktop fan or our allergy filter machine. This is usually sufficient to block out the sounds of the dishwasher and the cat, which allows me to think only about the task of hand.\n\nMy boyfriend, the other half of my extensive survey, swears by another method. He  calls it The Wall of Sound, and it\u2019s basically an intense blast of raucous music streamed directly into his head. The outcome of his technique is really the same as mine; he\u2019s blocking out unexpected auditory input. If you can handle the grating sounds of noisy music while working, I suggest you give The Wall of Sound a try.\n\nDon\u2019t count the minutes\n\nWhen I sat in the original Seat of Shame in lit class, I could no longer see the big classroom clock slowly ticking away the seconds until lunch. Without the marker of time, the class period often flew by. The same is true now when I work; the less aware of time I am, the less it feels like time is passing too quickly or slowly, and the more I can focus on the task (not how long it takes). \n\nNowadays, to assist in my effort to forget the passing of time, I sometimes put a sticky note over the clock on my monitor. If I\u2019m writing, I\u2019ll use an app like WriteRoom, which blocks out everything but a simple text editor. \n\nThere are situations when it\u2019s not advisable to completely lose track of time. If I\u2019m working on a project with an hourly rate and a tight scope, or if I need to be on time to a meeting or call, I don\u2019t want to lose myself in the expanse of the day. In these cases, I\u2019ll set an alarm that lets me know it\u2019s time to reign myself back in (or on some days, take a shower).\n\nPut yourself in a mental corner, too\n\nWhen Ms. Kaney took action and forced me to step up my game, she had the insight to not just change things physically, but to challenge me mentally as well. She assigned me reading material outside the normal coursework, then upped the pressure by requiring detailed reports of the material. While this additional stress was sometimes uncomfortable, it pushed me to work harder than I would have had there been less of a demand. Just as there can be freedom in the limitations of a distraction-free environment, I\u2019d argue there is liberty in added mental constraints as well.\n\nDeadlines as a constraint\n\nMuch has been written about the role of deadlines in the creative process, and they seem to serve different functions in different cases. I find that deadlines usually act as an important constraint and, without them, it would be nearly impossible for me to ever consider a project finished. There are usually limitless ways to improve upon the work I do and, if there\u2019s no imperative for me to be done at a certain point, I will revise ad infinitum. (Hence, the personal site redesign that will never end \u2013 Coming Soon, Forever!). But if I have a clear deadline in mind, there\u2019s a point when the obsessive tweaking has to stop. I reach a stage where I have to gather up the nerve to launch the thing.\n\nPutting the pro in procrastination\n\nSometimes I\u2019ve found that my tendency to procrastinate can help my productivity. (Ducks, as half the internet throws things at her.) I understand the reasons why procrastination can be harmful, and why it\u2019s usually a good idea to work diligently and evenly towards a goal. I try to divide my projects up in a practical way, and sometimes I even pull it off. But for those tasks where you work aimlessly and no focus comes, or you find that every other to-do item is more appealing, sometimes you\u2019re forced to bring it together at the last moment. And sometimes, this environment of stress is a formula for magic. Often when I\u2019m down to the wire and have no choice but to produce, my mind shifts towards a new level of clarity. There\u2019s no time to endlessly browse for inspiration, or experiment with convoluted solutions that lead nowhere.\n\nObviously a life lived perpetually on the edge of a deadline would be a rather stressful one, so it\u2019s not a state of being I\u2019d advocate for everyone, all the time. But every now and then, the work done when I\u2019m down to the wire is my best.\n\nKeep one toe outside your comfort zone\n\nWhen I\u2019m choosing new projects to take on, I often seek out work that involves an element of challenge. Whether it\u2019s a design problem that will require some creative thinking, or a coding project that lends itself to using new technology like HTML5, I find a manageable level of difficulty to be an added bonus. The tension that comes from learning a new skill or rethinking an old standby is a useful constraint, as it keeps the work interesting, and ensures that I continue learning.\n\nThere you have it\n\nWell, I think I\u2019ve spilled most of my crazy secrets for forcing my easily distracted brain to focus. As with everything we web workers do, there are an infinite number of ways to encourage productivity. I hope you\u2019ve found a few of these to be helpful, and please share your personal techniques in the comments. Have a happy and productive new year!", "year": "2010", "author": "Meagan Fisher", "author_slug": "meaganfisher", "published": "2010-12-20T00:00:00+00:00", "url": "https://24ways.org/2010/put-yourself-in-a-corner/", "topic": "process"}
{"rowid": 235, "title": "Real Animation Using JavaScript, CSS3, and HTML5 Video", "contents": "When I was in school to be a 3-D animator, I read a book called Timing for Animation. Though only 152 pages long, it\u2019s essentially the bible for anyone looking to be a great animator. In fact, Pixar chief creative officer John Lasseter used the first edition as a reference when he was an animator at Walt Disney Studios in the early 1980s.\n\nIn the book, authors John Halas and Harold Whitaker advise:\n\n\n\tTiming is the part of animation which gives meaning to movement. Movement can easily be achieved by drawing the same thing in two different positions and inserting a number of other drawings between the two. The result on the screen will be movement; but it will not be animation.\n\n\nBut that\u2019s exactly what we\u2019re doing with CSS3 and JavaScript: we\u2019re moving elements, not animating them. We\u2019re constantly specifying beginning and end states and allowing the technology to interpolate between the two. And yet, it\u2019s the nuances within those middle frames that create the sense of life we\u2019re looking for.\n\nAs bandwidth increases and browser rendering grows more consistent, we can create interactions in different ways than we\u2019ve been able to before. We\u2019re encountering motion more and more on sites we\u2019d generally label \u2018static.\u2019 However, this motion is mostly just movement, not animation. It\u2019s the manipulation of an element\u2019s properties, most commonly width, height, x- and y-coordinates, and opacity.\n\nSo how do we create real animation?\n\nThe metaphor\n\nIn my experience, animation is most believable when it simulates, exaggerates, or defies the real world. A bowling ball falls differently than a racquetball. They each have different weights and sizes, which affect the way they land, bounce, and impact other objects.\n\nThis is a major reason that JavaScript animation frequently feels mechanical; it doesn\u2019t complete a metaphor. Expanding and collapsing a <div> feels very different than a opening a door or unfolding a piece of paper, but it often shouldn\u2019t. The interaction itself should tie directly to the art direction of a page.\n\nPhysics\n\nUnderstanding the physics of a situation is key to creating convincing animation, even if your animation seeks to defy conventional physics. Isaac Newton\u2019s first law of motion\u2019s_laws_of_motion states, \u201cEvery body remains in a state of rest or uniform motion (constant velocity) unless it is acted upon by an external unbalanced force.\u201d Once a force acts upon an object, the object\u2019s shape can change accordingly, depending on the strength of the force and the mass of the object. Another nugget of wisdom from Halas and Whitaker:\n\n\n\tAll objects in nature have their own weight, construction, and degree of flexibility, and therefore each behaves in its own individual way when a force acts upon it. This behavior, a combination of position and timing, is the basis of animation. The basic question which an animator is continually asking himself is this: \u201cWhat will happen to this object when a force acts upon it?\u201d And the success of his animation largely depends on how well he answers this question.\n\n\nIn animating with CSS3 and JavaScript, keep physics in mind. How \u2018heavy\u2019 is the element you\u2019re interacting with? What kind of force created the action? A gentle nudge? A forceful shove? These subtleties will add a sense of realism to your animations and make them much more believable to your users.\n\nMisdirection\n\nMagicians often use misdirection to get their audience to focus on one thing rather than another. They fool us into thinking something happened that actually didn\u2019t.\n\nAnimation is the same, especially on a screen. By changing the arrangement of pixels on screen at a fast enough rate, your eyes fool your mind into thinking an object is actually in motion. \n\nAnother important component of misdirecting in animation is the use of multiple objects. Try to recall a cartoon where a character vanishes. More often, the character makes some sort of exaggerated motion (this is called anticipation) then disappears, and a puff a smoke follows. That smoke is an extra element, but it goes a long way into make you believe that character actually disappeared.\n\nVery rarely does a vanishing character\u2019s opacity simply go from one hundred per cent to zero. That\u2019s not believable. So why do we do it with <div>s?\n\nArmed with the ammunition of metaphors and misdirection, let\u2019s code an example.\n\nShake, rattle, and roll\n\n(These demos require at least a basic understanding of jQuery and CSS3. Run away if your\u2019re afraid, or brush up on CSS animation and resources for learning jQuery. Also, these demos use WebKit-specific features and are best viewed in the latest version of Safari, so performance in other browsers may vary.)\n\nWe often see the design pattern of clicking a link to reveal content. Our \u201cfirst demo\u201d:\u201d/examples/2010/real-animation/demo1/ shows us exactly that. It uses jQuery\u2019s \u201c slideDown()\u201d:http://api.jquery.com/slideDown/ method, as many instances do.\n\nBut what force acted on the <div> that caused it to open? Did pressing the button unlatch some imaginary hook? Did it activate an unlocking sequence with some gears?\n\nTake 2\n\nOur second demo is more explicit about what happens: the button fell on the <div> and shook its content loose. Here\u2019s how it\u2019s done. \n\nfunction clickHandler(){\n\t$('#button').addClass('animate');\n\treturn false;\n}\n\nClicking the link adds a class of animate to our button. That class has the following CSS associated with it:\n\n<style>\n\t.animate {\n\t\t-webkit-animation-name: ANIMATE;\n\t\t-webkit-animation-duration: 0.25s;\n\t\t-webkit-animation-iteration-count: 1;\n\t\t-webkit-animation-timing-function: ease-in;\n\t}\n\t@-webkit-keyframes ANIMATE {\n\t\tfrom {\n\t\ttop: 72px;\n\t\t}\n\t\tto {\n\t\t\ttop: 112px;\n\t\t}\n\t}\n</style>\n\nIn our keyframe definition, we\u2019ve specified from and to states. This is great, because we can be explicit about how an object starts and finishes moving. \n\nWhat\u2019s also extra handy is that these CSS keyframes broadcast events that you can react to with JavaScript. In this example, we\u2019re listening to the webkitAnimationEnd event and opening the <div> only when the sequence is complete. Here\u2019s that code.\n\nfunction attachAnimationEventHandlers(){\n\tvar wrap = document.getElementById('wrap');\n\twrap.addEventListener('webkitAnimationEnd', function($e) {\n\t\tswitch($e.animationName){\n\t\t\tcase \"ANIMATE\" :\n\t\t\topenMain();\n\t\t\tbreak;\n\t\t\tdefault:\n\t\t}\n\t}, false);\n}\nfunction openMain(){\n\t$('#main .inner').slideDown('slow');\n}\n\n(For more info on handling animation events, check out the documentation at the Safari Reference Library.)\n\nTake 3\n\nThe problem with the previous demo is that the subtleties of timing aren\u2019t evident. It still feels a bit choppy.\n\nFor our third demo, we\u2019ll use percentages instead of keywords so that we can insert as many points as we need to communicate more realistic timing. The percentages allow us to add the keys to well-timed animation: anticipation, hold, release, and reaction. \n\n<style>\n\t@-webkit-keyframes ANIMATE {\n\t\t0% {\n\t\t\ttop: 72px;\n\t\t}\n\t\t40% { /* anticipation */\n\t\t\ttop: 57px;\n\t\t}\n\t\t70% { /* hold */\n\t\t\ttop: 56px;\n\t\t}\n\t\t80% { /* release */\n\t\t\ttop: 112px;\n\t\t}\n\t\t100% { /* return */\n\t\t\ttop: 72px;\n\t\t}\n\t}\n</style>\n\nTake 4\n\nThe button animation is starting to feel much better, but the reaction of the <div> opening seems a bit slow.\n\nThis fourth demo uses jQuery\u2019s delay() method to time the opening precisely when we want it. Since we know the button\u2019s animation is one second long and its reaction starts at eighty per cent of that, that puts our delay at 800ms (eighty per cent of one second). However, here\u2019s a little pro tip: let\u2019s start the opening at 750ms instead. The extra fifty milliseconds makes it feel more like the opening is a reaction to the exact hit of the button. Instead of listening for the webkitAnimationEnd event, we can start the opening as soon as the button is clicked, and the movement plays on the specified delay.\n\nfunction clickHandler(){\n\t$('#button').addClass('animate');\n\topenMain();\n\treturn false;\n}\nfunction openMain(){\n\t$('#main .inner').delay(750).slideDown('slow');\n}\n\nTake 5\n\nWe can tweak the timing of that previous animation forever, but that\u2019s probably as close as we\u2019re going to get to realistic animation with CSS and JavaScript. However, for some extra sauce, we could relegate the whole animation in our final demo to a video sequence which includes more nuances and extra elements for misdirection.\n\nHere\u2019s the basis of video replacement. Add a <video> element to the page and adjust its opacity to zero. Once the button is clicked, fade the button out and start playing the video. Once the video is finished playing, fade it out and bring the button back.\n\nfunction clickHandler(){\n\tif($('#main .inner').is(':hidden')){\n\t\t$('#button').fadeTo(100, 0);\n\t\t$('#clickVideo').fadeTo(100, 1, function(){\n\t\t\tvar clickVideo = document.getElementById('clickVideo');\n\t\t\tclickVideo.play();\n\t\t\tsetTimeout(removeVideo, 2400);\n\t\t\topenMain();\n\t\t});\n\t}\n\treturn false;\n}\nfunction removeVideo(){\n\t$('#button').fadeTo(500, 1);\n\t$('#clickVideo').fadeOut('slow');\n}\nfunction openMain(){\n\t$('#main .inner').delay(1100).slideDown('slow');\n}\n\nWrapping up\n\nI\u2019m no JavaScript expert by any stretch. I\u2019m sure a lot of you scripting wizards out there could write much cleaner and more efficient code, but I hope this gives you an idea of the theory behind more realistic motion with the technology we\u2019re using most. This is just one model of creating more convincing animation, but you can create countless variations of this, including\u2026\n\n\n\tExporting <video> animations in 3-D animation tools or 2-D animation tools like Flash or After Effects\n\tUsing <canvas> or SVG instead of <video>\n\tEmploying specific JavaScript animation frameworks\n\tMaking use of all the powerful properties of CSS Transforms and CSS Animation\n\tTrying out emerging CSS3 animation tools like Sencha Animator\n\n\nIf it wasn\u2019t already apparent, these demos show an exaggerated example and probably aren\u2019t practical in a lot of environments. However, there are a handful of great sites out there that honor animation techniques\u2014metaphor, physics, and misdirection, among others\u2014like Benjamin De Cock\u2019s vCard, 20 Things I Learned About Browsers and the Web by Fantasy Interactive, and the Nike Snowboarding site by Ian Coyle and HEGA. They\u2019re wonderful testaments to what you can do to aid interaction for users.\n\nMy goal was to show you the \u2018why\u2019 and the \u2018how.\u2019 Your charge is to discern the \u2018where\u2019 and the \u2018when.\u2019 Happy animating!", "year": "2010", "author": "Dan Mall", "author_slug": "danmall", "published": "2010-12-15T00:00:00+00:00", "url": "https://24ways.org/2010/real-animation-using-javascript-css3-and-html5-video/", "topic": "code"}
{"rowid": 229, "title": "Sketching to Communicate", "contents": "As a web designer I\u2019ve always felt that I\u2019d somehow cheated the system, having been absent on the day God handed out the ability to draw. I didn\u2019t study fine art, I don\u2019t have a natural talent to effortlessly knock out a realistic bowl of fruit beside a water jug, and yet somehow I\u2019ve still managed to blag my way this far. I\u2019m sure many of you may feel the same.\n\nI had no intention of becoming an artist, but to have enough skill to convey an idea in a drawing would be useful. Instead, my inadequate instrument would doodle drunkenly across the page leaving a web of unintelligible paths instead of the refined illustration I\u2019d seen in my mind\u2019s eye. This \u2013 and the natural scrawl of my handwriting \u2013 is fine (if somewhat frustrating) when it\u2019s for my eyes only but, when sketching to communicate a concept to a client, such amateur art would be offered with a sense of embarrassment. So when I had the opportunity to take part in some sketching classes whilst at Clearleft I jumped at the chance.\n\nWhy sketch?\n\nIn UX workshops early on in a project\u2019s life, sketching is a useful and efficient way to convey and record ideas. It\u2019s disposable and inexpensive, but needn\u2019t look amateur. A picture may be worth a thousand words, but a well executed sketch of how you\u2019ll combine funny YouTube videos with elephants to make Lolephants.com could be worth millions in venture capital. Actually, that\u2019s not bad\u2026 ;-)\n\nAlthough (as you will see) the basics of sketching are easy to master, the kudos you will receive from clients for being a \u2018proper designer\u2019 makes it worthwhile!\n\nWhere to begin?\n\nStart by not buying yourself a sketch pad. If you were the type of child who ripped the first page out of a school exercise book and started again if you made even a tiny mistake (you\u2019re not alone!), Wreck This Journal may offer a helping hand. Practicing on plain A4 paper instead of any \u2018special\u2019 notepad will make the process a whole lot easier, no matter how deliciously edible those Moleskines look.\n\nDo buy yourself a black fine-liner pen and a set of grey Pro Markers for shading. These pens are unlike any you will have used before, and look like blended watercolours once the ink is dry. Although multiple strokes won\u2019t create unsightly blotches of heavy ink on the page, they will go right through your top sheet so always remember to keep a rough sheet in the second position as an ink blotter.\n\n photo by Tom Harrison\n\nDon\u2019t buy pencils to sketch with, as they lack the confidence afforded by the heavy black ink strokes of marker pens and fine-liners.\n\nIf you\u2019re going to be sketching with clients then invest in some black markers and larger sheets of paper. At the risk of sounding like a stationery brand whore, Sharpies are ideal, and these comedy-sized Post-Its do the job far better than cheaper, less sticky alternatives. Although they\u2019re thicker than most standard paper, be sure to double-layer them if you\u2019re writing on them on a wall, unless you fancy a weekend redecorating your client\u2019s swanky boardroom.\n\nThe best way to build confidence and improve your sketching technique is, obviously, to practise. Reading this article will be of no help unless you repeat the following examples several times each. Go grab a pen and some paper now, and notice how you improve within even a short period of time.\n\nSketching web UI\n\nMost elements of any website can be drawn as a combination of geometric shapes.\n\n photo by Nathanael Boehm\n\nCircles\n\nTo draw a circle, get in position and start by resting your hand on the page and making the circular motion a few times without putting pen to paper. As you lower your pen whilst continuing the motion, you should notice the resulting shape is more regular than it otherwise would have been.\n\nSquares and rectangles\n\nDraw one pair of parallel lines first, followed by the others to complete the shapes. Slightly overlap the ends of the lines to make corners feel more solid than if you were to leave gaps. If you\u2019re drawing a container, always draw the contents first, that way it won\u2019t be a squash to fit them in. If you\u2019re drawing a grid (of thumbnails, for instance), draw all parallel lines first as a series of long dashes to help keep line lengths and angles consistent.\n\n\n\nShadows\n\nTo lift elements from the page for emphasis, add a subtle shadow with a grey marker. For the most convincing look, assume the light source to be at the top left of the page \u2013 the shadow should simply be a thick grey line along the bottom and up the right edge of your shape. If the shape is irregular, the shadow should follow its outline. This is a good way to emphasise featured items, speech bubbles, form buttons, and so on.\n\n\n\nSketching ideas\n\nArrows\n\nUse arrows to show steps in a process or direction of movement. Giving shadows a 3-D feel, or adding a single colour, will help separate them from the rest of the sketch.\n\n\n\nFaces\n\nStart by drawing the circle. The direction of the nose (merely a point) indicates the direction of the person\u2019s gaze. The eyes and mouth show emotion: more open and curvy for happy thoughts; more closed and jagged for angry thoughts. Try out a few shapes and see what emotions they convey.\n\n\n\nPeople\n\nRemember, we\u2019re aiming for communication rather than realism here. A stick man would be fine. Give him a solid body, as shown in this example, and it becomes easier to pose him.\n\n\n\nI know you think hands are hard, but they\u2019re quite important to convey some ideas, and for our purposes we don\u2019t need to draw hands with any detail. An oval with a stick does the job of a pointing hand. Close-ups might need more fingers showing, but still don\u2019t require any degree of realism.\n\nSignage\n\nDon\u2019t be afraid to use words. We\u2019re sketching to communicate, so if the easiest way to show an office block is a building with a big \u2018office\u2019 sign on the roof, that\u2019s fine!\n\n\n\nLabels\n\nLikewise, feel free to label interactions. Use upper-case letters for legibility and slightly angle the horizontal bars upwards to create a more positive feel.\n\nClich\u00e9s\n\nClich\u00e9s are your friend! Someone\u2019s having an idea? Light bulb above the head. Computer\u2019s crashed? Cloud of smoke with \u201c$\u00a3%*!\u201d\n\n\n\n\n\nIt\u2019s good to practise regularly. Try applying these principles to still life, too. Look around you now and draw the cup on the table, or the books on the shelf. Think of it as a combination of shapes and aim for symbolism rather than realism, and it\u2019s not as hard as you\u2019d think.\n\nI hope this has given you the confidence to give it a shot, and the ability to at least not be mortified with the results!\n\nTip: If you\u2019re involving clients in design games like Leisa Reichelt\u2019s \u2018Design Consequences\u2019 it may be wise to tone down the quality of your drawings at that point so they don\u2019t feel intimidated. Remember, it\u2019s important for them to feel at ease with the idea of wireframing in front of you and their colleagues, no matter how bad their line work.\n\nFor more information see davegrayinfo.com \u2013 Dave Gray taught me everything I know :-)", "year": "2010", "author": "Paul Annett", "author_slug": "paulannett", "published": "2010-12-19T00:00:00+00:00", "url": "https://24ways.org/2010/sketching-to-communicate/", "topic": "business"}
{"rowid": 219, "title": "Speed Up Your Site with Delayed Content", "contents": "Speed remains one of the most important factors influencing the success of any website, and the first rule of performance (according to Yahoo!) is reducing the number of HTTP requests. Over the last few years we\u2019ve seen techniques like sprites and combo CSS/JavaScript files used to reduce the number of HTTP requests. But there\u2019s one area where large numbers of HTTP requests are still a fact of life: the small avatars attached to the comments on articles like this one.\n\nAvatars\n\nMany sites like 24 ways use a fantastic service called Gravatar to provide user images. As a user, you can sign up to Gravatar, give them your e-mail address, and upload an image to represent you. Sites can then include your image by generating a one way hash of your e-mail address and using that to build an image URL. For example, the markup for the comments on this page looks something like this:\n\n<div>\n\t<h4><a href=\"http://allinthehead.com/\">\n\t\t<img src=\"http://www.gravatar.com/avatar.php?gravatar_id=13734b0cb20708f79e730809c29c3c48&size=100\" class=\"gravatar\" alt=\"\" height=\"100\" width=\"100\" />\n    Drew McLellan\n\t</a></h4>\n\t<p>This is a great article!</p>\n</div>\n\nThe Gravatar URL contains two parts. 100 is the size in pixels of the image we want.  13734b0cb20708f79e730809c29c3c48 is an MD5 digest of Drew\u2019s e-mail address. Using MD5 means we can request an image for a user without sharing their e-mail address with anyone who views the source of the page.\n\nSo what\u2019s wrong with avatars?\n\nThe problem is that a popular article can easily get hundreds of comments, and every one of them means another image has to be individually requested from Gravatar\u2019s servers. Each request is small and the Gravatar servers are fast but, when you add them up, it can easily add seconds to the rendering time of a page. Worse, they can delay the loading of more important assets like the CSS required to render the main content of the page.\n\nThese images aren\u2019t critical to the page, and don\u2019t need to be loaded up front. Let\u2019s see if we can delay loading them until everything else is done. That way we can give the impression that our site has loaded quickly even if some requests are still happening in the background.\n\nDelaying image loading\n\nThe first problem we find is that there\u2019s no way to prevent Internet Explorer, Chrome or Safari from loading an image without removing it from the HTML itself. Tricks like removing the images on the fly with JavaScript don\u2019t work, as the browser has usually started requesting the images before we get a chance to stop it.\n\nRemoving the images from the HTML means that people without JavaScript enabled in their browser won\u2019t see avatars. As Drew mentioned at the start of the month, this can affect a large number of people, and we can\u2019t completely ignore them. But most sites already have a textual name attached to each comment and the avatars are just a visual enhancement. In most cases it\u2019s OK if some of our users don\u2019t see them, especially if it speeds up the experience for the other 98%.\n\nRemoving the images from the source of our page also means we\u2019ll need to put them back at some point, so we need to keep a record of which images need to be requested. All Gravatar images have the same URL format; the only thing that changes is the e-mail hash. Storing this is a great use of HTML5 data attributes.\n\nHTML5 data what?\n\nData attributes are a new feature in HTML5. The latest version of the spec says:\n\n\n\tA custom data attribute is an attribute in no namespace whose name starts with the string \u201cdata-\u201d, has at least one character after the hyphen, is XML-compatible, and contains no characters in the range U+0041 to U+005A (LATIN CAPITAL LETTER A to LATIN CAPITAL LETTER Z).\n[\u2026]\nCustom data attributes are intended to store custom data private to the page or application, for which there are no more appropriate attributes or elements. These attributes are not intended for use by software that is independent of the site that uses the attributes.\n\n\nIn other words, they\u2019re attributes of an HTML element that start with \u201cdata-\u201d which you can use to share data with scripts running on your site. They\u2019re great for adding small bits of metadata that don\u2019t fit into an existing markup pattern the way microformats do.\n\nLet\u2019s see this in action\n\nTake a look at the markup for comments again:\n\n<div>\n\t<h4><a href=\"http://allinthehead.com/\">\n\t\t<img src=\"http://www.gravatar.com/avatar.php?gravatar_id=13734b0cb20708f79e730809c29c3c48&size=100\" class=\"gravatar\" alt=\"\" height=\"100\" width=\"100\" />\n    Drew McLellan\n\t</a></h4>\n\t<p>This is a great article!</p>\n</div>\n\nLet\u2019s replace the <img> element with a data-gravatar-hash attribute on the <a> element:\n\n<div>\n\t<h4><a href=\"http://allinthehead.com/\" data-gravatar-hash=\"13734b0cb20708f79e730809c29c3c48\">\n    Drew McLellan\n\t</a></h4>\n\t<p>This is a great article!</p>\n</div>\n\nOnce we\u2019ve done this, we\u2019ll need a small bit of JavaScript to find all these attributes, and replace them with images after the page has loaded. Here\u2019s an example using jQuery:\n\n$(window).load(function() {\n\t$('a[data-gravatar-hash]').prepend(function(index){\n\t\tvar hash = $(this).attr('data-gravatar-hash')\n\t\treturn '<img width=\"100\" height=\"100\" alt=\"\" src=\"http://www.gravatar.com/avatar.php?size=100&gravatar_id=' + hash + '\">'\n\t})\n})\n\nThis code waits until everything on the page is loaded, then uses jQuery.prepend to insert an image into every link containing a data-gravatar-hash attribute. It\u2019s short and relatively simple, but in tests it reduced the rendering time of a sample page from over three seconds to well under one.\n\nFinishing touches\n\nWe still need to consider the appearance of the page before the avatars have loaded. When our script adds extra content to the page it will cause a browser reflow, which is visually annoying. We can avoid this by using CSS to reserve some space for each image before it\u2019s inserted into the HTML:\n\n#comments div {\n\tpadding-left: 110px;\n\tmin-height: 100px;\n\tposition: relative;\n}\n#comments div h4 img {\n\tdisplay: block;\n\tposition: absolute;\n\ttop: 0;\n\tleft: 0;\n}\n\nIn a real world example, we\u2019ll also find that the HTML for a comment is more varied as many users don\u2019t provide a web page link. We can make small changes to our JavaScript and CSS to handle this case.\n\nPut this all together and you get this example.\n\nTaking this idea further\n\nThere\u2019s no reason to limit this technique to sites using Gravatar; we can use similar code to delay loading any images that don\u2019t need to be present immediately. For example, this year\u2019s redesigned Flickr photo page uses a \u201cdata-defer-src\u201d attribute to describe any image that doesn\u2019t need to be loaded straight away, including avatars and map tiles.\n\nYou also don\u2019t have to limit yourself to loading the extra resources once the page loads. You can get further bandwidth savings by waiting until the user takes an action before downloading extra assets. Amazon has taken this tactic to the extreme on its product pages \u2013 extra content is loaded as you scroll down the page.\n\nSo next time you\u2019re building a page, take a few minutes to think about which elements are peripheral and could be delayed to allow more important content to appear as quickly as possible.", "year": "2010", "author": "Paul Hammond", "author_slug": "paulhammond", "published": "2010-12-18T00:00:00+00:00", "url": "https://24ways.org/2010/speed-up-your-site-with-delayed-content/", "topic": "ux"}
{"rowid": 230, "title": "The Articulate Web Designer of Tomorrow", "contents": "You could say that we design to communicate, and that we seek emotive responses. It sounds straightforward, and it can be, but leaving it to chance isn\u2019t wise. Many wander into web design without formal training, and whilst that certainly isn\u2019t essential, we owe it to ourselves to draw on wider influences, learn from the past, and think smarter.\n\nWhat knowledge can we ourselves explore in order to become better designers? In addition, how can we take this knowledge, investigate it through our unique discipline, and in turn speak more eloquently about what we do on the web? Below, I outline a number of things that I personally believe all designers should be using and exploring collectively.\n\nTaking stock\n\nWhere we\u2019re at is good. Finding clarity through web standards, we\u2019ve ended up quite modernist in our approach, pursuing function, elegance and reduction. However, we\u2019re not great at articulating our own design processes and principles to outsiders. Equally, we rely heavily on our instincts when deciding if something is or isn\u2019t good. That\u2019s fine, but we can better understand why things are the way they are by looking a little deeper, thereby helping us articulate what goes on in our design brains to our peers, our clients and to normal humans.\n\nAs designers we use ideas, concepts, text and images. We apply our ideas and experience, imposing order and structure to content, hoping to ease the communication of an idea to the largest possible audience or to a specific audience. We consciously manipulate most of what is available to us, but not all. There is something else we can use. I often think that brilliant work demands a keen understanding of the magical visual language that informs design.\n\nEmbracing an established visual language\n\nThis is a language whose alphabet is shapes, structures, colours, lines and rhythms. When effective, it is somewhat invisible, subliminally enforcing messages and evoking meaning, using methods solidly rooted in a grammar perceptible in virtually all extraordinary creative work. The syntax for art, architecture, film, and furniture, industrial and graphic design (think Bauhaus and the Swiss style perhaps), this language urges us to become fluent if we aim for a more powerful dialogue with our audience.\n\n Figure 1: Structures (clockwise from top-left): Informal; Formal; Active; Visible.\n\nThe greatest creative minds our world has produced could understand some or all of this language. Line and point, form and shape. Abstract objects. Formal and informal structures. Visual distribution. Balance, composition and the multitudinous approaches to symmetry. Patterns and texture. Movement and paths. Repetition, rhythm and frequency. Colour theory. Whitespace and the pause. The list goes on.\n\nThe genius we perceive in our creative heroes is often a composite of experience, trial and error, conviction, intuition \u2013 even accident \u2013 but rarely does great work arise without an initial understanding of the nuts and bolts that help communicate an idea or emotion.\n\nOur world of interactivity\n\nAs web designers, our connection with this language is most evident in graphic design. With more technological ease and power comes the responsibility to understand, wisely use, and be able to justify many of our decisions. We have moved beyond the scope of print into a world of interactivity, but we shouldn\u2019t let go of any established principles without good reason.\n\n Figure 2: Understanding movement of objects in any direction along a defined path.\n\nFor example, immersion in this visual language can improve our implementation of CSS3 and JavaScript behaviour. With CSS3, we\u2019ve seen a resurgence in CSS experimentation, some of which has been wonderful, but much of it has appeared clumsy. In the race to make something spin, twist, flip or fly from one corner to another, the designer sometimes fails to think about the true movement they seek to emulate. What forces are supposedly affecting this movement? What is the expected path of this transition and is it being respected?\n\nStopping to think about what is really supposed to be happening on the page compels us to use complex animations, diagrams and rotations more carefully. It helps us to better understand paths and movement.\n\n Figure 3: Repetition can occur through variations in colour, shape, direction, and so on.\n\nIt can only be of greater benefit to be mindful of symmetries, depth, affordance, juxtaposition, balance, economy and reduction. A deeper understanding of basic structures can help us to say more with sketches, wireframes, layouts and composition. We\u2019ve all experimented with grids and rhythm but, to truly benefit from these long-established principles, we are duty-bound to understand their possibilities more than we will by simply leveraging a free framework or borrowing some CSS.\n\nDesign is not a science, but\u2026\n\nThreading through all of this is what we have learned from science, and what it teaches us of the human brain. This visual language matters because technology changes but, for the most part, people don\u2019t. For centuries, we humans have received and interpreted information in much the same way. Understanding more of how we perceive meaning can help designers make smarter decisions, and call on visual language to underpin these decisions. It is our responsibility as designers to be aware of mental models, mapping, semiotics, sensory experience and human emotion.\n\nDesign itself is not a science, but the appropriate use of visual language and scientific understanding exposes the line between effective and awkward, between communicative and mute. By strengthening our mental and analytical approach to what is often done arbitrarily or \u201cbecause it feels right\u201d, we simply become better designers.\n\nA visual language for the web\n\nSo, I\u2019ve outlined numerous starting points and areas worthy of deeper investigation, and hopefully you\u2019re eager to do some research. However, I\u2019ve mostly discussed established ideas and principles that we as web designers can learn from. It\u2019s my belief that our community has a shared responsibility to expand this visual language as it applies to the ebb and flow of the web. Indulge me as I conclude with a related tangent.\n\nIn defining a visual language specifically for the web, we must continue to mature. The old powerfully influences the new, but we must intelligently expand the visual language of masterful work and articulate what is uniquely ours.\n\nFor example, phrases like Ethan Marcotte\u2019s Responsive Web Design aren\u2019t merely elegant, they describe a new way of thinking and working, of communicating about designs and interaction patterns. These phrases broaden our vocabulary and are immediately adopted by designers worldwide, in both conversation and execution.\n\nOur legacy\n\nOur new definitions should flex and not be tied to specific devices or methods which fade away or morph with time. Our legacy is perhaps more about robust and flexible patterns and systems than it is about specific devices or programming languages.\n\n Figure 4: As web designers, we should think about systems, not pages.\n\nThe established principles we adopt and whatever new ways of thinking we define should slip neatly into a wider philosophy about our approach to web design. We\u2019re called, as a community, to define what is distinctive about the visual language of the web, create this vocabulary, this dialect that resonates with us and moves us forward as we tackle each day\u2019s work. Let\u2019s give it some thought.\n\nFurther reading\n\nThis is my immediate \u201cgo-to\u201d list of books that I bullishly believe all web designers should own, but there is so much more out there to read. Sadly, many great texts relating to this stuff are often out of print. Feel free to share your recommendations.\n\n\n\tDon Norman, The Design of Everyday Things\n\tChristian Leborg, Visual Grammar\n\tScott McCloud, Understanding Comics\n\tDavid Crow, Visible Signs\n\tWilliam Lidwell and Katrina Holden, Universal Principles of Design", "year": "2010", "author": "Simon Collison", "author_slug": "simoncollison", "published": "2010-12-16T00:00:00+00:00", "url": "https://24ways.org/2010/the-articulate-web-designer-of-tomorrow/", "topic": "process"}
{"rowid": 228, "title": "The Great Unveiling", "contents": "The moment of unveiling our designs should be among our proudest, but it never seems to work out that way. Instead of a chance to show how we can bring our clients\u2019 visions to life, critique can be a tense, worrying ordeal. And yes, the stakes are high: a superb design is only superb if it goes live. Mismanage the feedback process and your research, creativity and hard work can be wasted, and your client may wonder whether you\u2019ve been worth the investment.\n\nThe great unveiling is a pivotal part of the design process, but it needn\u2019t be a negative one. Just as usability testing teaches us whether our designs meet user needs, presenting our work to clients tells us whether we\u2019ve met important business goals. So how can we turn the tide to make presenting designs a constructive experience, and to give good designs a chance to shine through?\n\nTiming is everything\n\nFirst, consider when you should seek others\u2019 opinions. Your personal style will influence whether you show early sketches or wait to demonstrate something more complete. Some designers thrive at low fidelity, sketching out ideas that, despite their rudimentary nature, easily spark debate. Other designers take time to create more fully-realised versions. Some even argue that the great unveiling should be eliminated altogether by working directly alongside the client throughout, collaborating on the design to reach its full potential. \n\nWhatever your individual preference, you\u2019ll rarely have the chance to do it entirely your own way. Contracts, clients, and deadlines will affect how early and often you share your work. However, try to avoid the trap of presenting too late and at too high fidelity. My experience has taught me that skilled designers tend to present their work earlier and allow longer for iteration than novices do. More aware of the potential flaws in their solutions, these designers cling less tightly to their initial efforts. Working roughly and seeking early feedback gives you the flexibility to respond more fully to nuances you may have missed until now.\n\nPlanning design reviews\n\nPresent design ideas face-to-face, or at least via video conference. Asynchronous methods like e-mail and Basecamp are slow, easily ignored, and deny you the opportunity to guide your colleagues through your work. In person, you profit from both the well-known benefits of non-verbal communication, and the chance to immediately respond to questions and elaborate on rationale.\n\nBe sure to watch the numbers at your design review sessions, however. Any more than a handful of attendees and the meeting could quickly spiral into fruitless debate. Ask your project sponsor to appoint a representative to speak on behalf of each business function, rather than inviting too many cooks.\n\nWhere possible, show your work in its native format. Photocopy hand-drawn sketches to reinforce their disposability (the defining quality of a sketch) and encourage others to scribble their own thoughts on top. Show digital deliverables \u2013 wireframes, design concepts, rich interactions \u2013 on screen. The experience of a design is very different on screen than on paper. A monitor has appropriate dimensions and viewport size, presenting an accurate picture of the design\u2019s visual hierarchy, and putting interactive elements in the right context. On paper, a link is merely underlined text. On screen, it is another step along the user\u2019s journey.\n\nDon\u2019t waste time presenting multiple concepts. Not only is it costly to work up multiple concepts to the level required for fair appraisal, but the practice demonstrates a sorry abdication of responsibility. Designers should be custodians of design. Asking for feedback on multiple designs turns the critique process into a beauty pageant, relinquishing a designer\u2019s authority. Instead of rational choices that meet genuine user and business needs, you may be stuck with a Frankensteinian monstrosity, assembled from incompatible parts: \u201cThis header plus the whizzy bit from Version C\u201d.\n\nThis isn\u2019t to say that you shouldn\u2019t explore lots of ideas yourself. Divergent thinking early in the design process is the only way to break free of the clich\u00e9d patterns and fads that so often litter mediocre sites. But you must act as a design curator, choosing the best of your work and explaining its rationale clearly and succinctly. Attitude, then, is central to successful critique. It can be difficult to tread the fine line between the harmful extremes of doormat passivity and prima donna arrogance. Remember that you are the professional, but be mindful that even experts make mistakes, particularly when \u2013 as with all design projects \u2013 they don\u2019t possess all the relevant information in advance. Present your case with open-minded confidence, while accepting that positive critique will make your design (and ultimately your skills) stronger.\n\nThe courage of your convictions\n\nUltimately, your success in the feedback process, and indeed in the entire design process, hinges upon the rationale you provide for your work. Ideally, you should be able to refer to your research \u2013 personas, usability test findings, analytics \u2013 to support your decisions. To keep this evidence in mind, print it out to share at the design review, or include it in your presentation. Explain the rationale behind the most important decisions before showing the design, so that you can be sure of the full attention of your audience.\n\nOnce you\u2019ve covered these points, display your design and walk through the specific features of the page. A little honesty goes a long way here: state your case as strongly as your rationale demands. Sure of your reasoning? Be strong. Speculating an approach based on a hunch? Say so, and encourage your colleagues to explore the idea with you and see where it leads.\n\nOf course, none of these approaches should be sacrosanct. A proficient designer must be able to bend his or her way of working to suit the situation at hand. So sometimes you\u2019ll want to ignore these rules of thumb and explore your own hunches as required. More power to you. As long as you think as clearly about the feedback process as you have about the design itself, you\u2019ll be able to enjoy the great unveiling as a moment to be savoured, not feared.", "year": "2010", "author": "Cennydd Bowles", "author_slug": "cennyddbowles", "published": "2010-12-12T00:00:00+00:00", "url": "https://24ways.org/2010/the-great-unveiling/", "topic": "business"}
{"rowid": 221, "title": "\u201cProbably, Maybe, No\u201d: The State of HTML5 Audio", "contents": "With the hype around HTML5 and CSS3 exceeding levels not seen since 2005\u2019s Ajax era, it\u2019s worth noting that the excitement comes with good reason: the two specifications render many years of feature hacks redundant by replacing them with native features. For fun, consider how many CSS2-based rounded corners hacks you\u2019ve probably glossed over, looking for a magic solution. These days, with CSS3, the magic is border-radius (and perhaps some vendor prefixes) followed by a coffee break.\n\nCSS3\u2019s border-radius, box-shadow, text-shadow and gradients, and HTML5\u2019s <canvas>, <audio> and <video> are some of the most anticipated features we\u2019ll see put to creative (ab)use as adoption of the \u2018new shiny\u2019 grows. Developers jumping on the cutting edge are using subsets of these features to little detriment, in most cases. The more popular CSS features are design flourishes that can degrade nicely, but the current audio and video implementations in particular suffer from a number of annoyances.\n\nThe new shiny: how we got here\n\nSound involves one of the five senses, a key part of daily life for most \u2013 and yet it has been strangely absent from HTML and much of the web by default. From a simplistic perspective, it seems odd that HTML did not include support for the full multimedia experience earlier, despite the CD-ROM-based craze of the early 1990s. In truth, standards like HTML can take much longer to bake, but eventually deliver the promise of a lowered barrier to entry, consistent implementations and shiny new features now possible \u2018for free\u2019 just about everywhere.\n\n<img> was introduced early and naturally to HTML, despite having some opponents at the time. Perhaps <audio> and <video> were avoided, given the added technical complexity of decoding various multi-frame formats, plus the hardware and bandwidth limitations of the era. Perhaps there were quarrels about choosing a standard format or \u2013 more simply \u2013 maybe these elements just weren\u2019t considered to be applicable to the HTML-based web at the time. In any event, browser plugins from programs like RealPlayer and QuickTime eventually helped to fill the in-page audio/video gap, handling <object> and <embed> markup which pointed to .wav, .avi, .rm or .mov files. Suffice it to say, the experience was inconsistent at best and, on the standards side of the fence right now, so is HTML5 in terms of audio and video.\n\n: the theory\n\nAs far as HTML goes, the code for <audio> is simple and logical. Just as with <img>, a src attribute specifies the file to load. Pretty straightforward \u2013 sounds easy, right?\n\n<audio src=\"mysong.ogg\" controls>\n\t<!-- alternate content for unsupported case -->\n\tDownload <a href=\"mysong.ogg\">mysong.ogg</a>;\n</audio>\n\nAh, if only it were that simple. The first problem is that the OGG audio format, while \u2018free\u2019, is not supported by some browsers. Conversely, nor is MP3, despite being a de facto standard used in all kinds of desktop software (and hardware). In fact, as of November 2010, no single audio format is commonly supported across all major HTML5-enabled browsers.\n\nWhat you end up writing, then, is something like this:\n\n<audio controls>\n\t<source src=\"mysong.mp3\" />\n\t<source src=\"mysong.ogg\" />\n\t<!-- alternate content for unsupported case, maybe Flash, etc. -->\n\tDownload <a href=\"mysong.ogg\">mysong.ogg</a> or <a href=\"mysong.mp3\">mysong.mp3</a>\n</audio>\n\nKeep in mind, this is only a \u2018first class\u2019 experience for the HTML5 case; also, for non-supported browsers, you may want to look at another inline player (object/embed, or a JavaScript plus Flash API) to have inline audio. You can imagine the added code complexity in the case of supporting \u2018first class\u2019 experiences for older browsers, too.\n\n: the caveats\n\nWith <img>, you typically don\u2019t have to worry about format support \u2013 it just works \u2013 and that\u2019s part of what makes a standard wonderful. JPEG, PNG, BMP, GIF, even TIFF images all render just fine if for no better reason, perhaps, than being implemented during the \u2018wild west\u2019 days of the web. The situation with <audio> today reflects a very different \u2013 read: business-aware \u2013 environment in 2010. (Further subtext: There\u2019s a lot of [potential] money involved.) Regrettably, this is a collision of free and commercial interests, where the casualty is ultimately the user. Second up in the casualty list is you, the developer, who has to write additional code around this fragmented support.\n\nThe HTML5 audio API as implemented in JavaScript has one of the most un-computer-like responses I\u2019ve ever seen, and inspired the title of this post. Calling new Audio().canPlayType('audio/mp3'), which queries the system for format support according to a MIME type, is supposed to return one of \u201cprobably\u201d, \u201cmaybe\u201d, or \u201cno\u201d. Sometimes, you\u2019ll just get a null or empty string, which is also fun. A \u201cmaybe\u201d response does not guarantee that a format will be supported; sometimes audio/mp3 gives \u201cmaybe,\u201d but then audio/mpeg; codecs=\"mp3\" will give a more-solid \u201cprobably\u201d response. This can vary by browser or platform, too, depending on native support \u2013 and finally, the user may also be able to install codecs, extending support to include other formats. (Are you excited yet?)\n\nDamn you, warring formats!\n\nNew market and business opportunities go hand-in-hand with technology developments. What we have here is certainly not failure to communicate; rather, we have competing parties shouting loudly in public in attempts to influence mindshare towards a de facto standard for audio and video. Unfortunately, the current situation means that at least two formats are effectively required to serve the majority of users correctly.\n\nAs it currently stands, we have the free and open source software camp of OGG Vorbis/WebM and its proponents (notably, Mozilla, Google and Opera in terms of browser makers), up against the non-free, proprietary and \u2018closed\u2019 camp of MP3 and MPEG4/HE-AAC/H.264 \u2013 which is where you\u2019ll find commitments from Apple and Microsoft, among others. Apple is likely in with H.264 for the long haul, given its use of the format for its iTunes music store and video offerings.\n\nIt is generally held that H.264 is a technically superior format in terms of file size versus quality, but it involves intellectual property and, in many use cases, requires licensing fees. To be fair, there is a business model with H.264 and much has been invested in its development, but this approach is not often the kind that wins over the web. On that front, OGG/WebM may eventually win for being a \u2018free\u2019 format that does not involve a licensing scheme.\n\nClosed software and tools ideologically clash with the open nature of the web, which exists largely thanks to free and open technology. Because of philosophical and business reasons, support for audio and video is fragmented across browsers adopting HTML5 features. It does not help that a large amount of audio and video currently exists in non-free MP3 and MPEG-4 formats. Adoption of <audio> and <video> may be slowed, since it is more complex than <img> and may feel \u2018broken\u2019 to developers when edge cases are encountered. Furthermore, the HTML5 spec does not mandate a single required format. The end result is that, as a developer, you must currently provide at least both MP3 and OGG, for example, to serve most existing HTML5-based user agents.\n\nTransitioning to \n\n\n\nThere will be some growing pains as developers start to pick up the new HTML5 shiny, while balancing the needs of current and older agents that don\u2019t support either <audio> or the preferred format you may choose (for example, MP3). In either event, Flash or other plugins can be used as done traditionally within HTML4 documents to embed and play the relevant audio.\n\n\n\nThe SoundManager 2 page player demo in action.\n\n\n\nIdeally, HTML5 audio should be used whenever possible with Flash as the backup option. A few JavaScript/Flash-based audio player projects exist which balance the two; in attempting to tackle this problem, I develop and maintain SoundManager 2, a JavaScript sound API which transparently uses HTML5 Audio() and, if needed, Flash for playing audio files. The internals can get somewhat ugly, but the transition between HTML4 and HTML5 is going to be just that \u2013 and even with HTML5, you will need some form of format fall-back in addition to graceful degradation.\n\nIt may be safest to fall back to MP3/MP4 formats for inline playback at this time, given wide support via Flash, some HTML5-based browsers and mobile devices. Considering the amount of MP3/MP4 media currently available, it is wiser to try these before falling through to a traditional file download process.\n\nEarly findings\n\nHere is a brief list of behavioural notes, annoyances, bugs, quirks and general weirdness I have found while playing with HTML5-based audio at time of writing (November 2010):\n\nApple iPad/iPhone (iOS 4, iPad 3.2+)\n\n\n\tOnly one sound can be played at a time. If a second sound starts, the first is stopped.\n\tNo auto-play allowed. Sounds follow the pop-up window security model and can only be started from within a user event handler such as onclick/touch, and so on. Otherwise, playback attempts silently fail.\n\tOnce started, a sequence of sounds can be created or played via the \u2018finish\u2019 event of the previous sound (for example, advancing through a playlist without interaction after first track starts).\n\tiPad, iOS 3.2: Occasional \u2018infinite loop\u2019 bug seen where audio does not complete and stop at a sound\u2019s logical end \u2013 instead, it plays again from the beginning. Might be specific to example file format (HE-AAC) encoded from iTunes.\n\n\nApple Safari, OS X Snow Leopard 10.6.5\n\n\n\tCritical bug: Safari 4 and 5 intermittently fail to load or play HTML5 audio on Snow Leopard due to bug(s) in QuickTime X and/or other underlying frameworks. Known Apple \u2018radar\u2019 bug: bugs.webkit.org #32159 (see also, test case.) Amusing side note: Safari on Windows is fine.\n\n\nApple Safari, Windows\n\n\n\tFood for thought: if you download \u201cSafari\u201d alone on Windows, you will not get HTML5 audio/video support (tested in WinXP). You need to download \u201cSafari + QuickTime\u201d to get HTML5 audio/video support within Safari. (As far as I\u2019m aware, Chrome, Firefox and Opera either include decoders or use system libraries accordingly. Presumably IE 9 will use OS-level APIs.)\n\n\nGeneral Quirks\n\n\n\tSeeking and loading, \u2018progress\u2019 events, and calculating bytes loaded versus bytes total should not be expected to be linear, as users can arbitrarily seek within a sound. It appears that some support for HTTP ranges exists, which adds a bit of logic to UI code. Browsers seem to vary slightly in their current implementations of these features.\n\tThe onload event of a sound may be of little relevance, if non-linear loading is involved (see above note re: seeking).\n\tInterestingly (perhaps I missed it), the current spec does not seem to specify a panning or left/right channel mix option.\n\tThe preload attribute values may vary slightly between browsers at this time.\n\n\nUpcoming shiny: HTML5 Audio Data API\n\n\n\n\n\tWith access to audio data, you can incorporate waveform and spectrum elements that make your designs react to music.\n\n\n\nThe HTML5 audio spec does a good job covering the basics of playback, but did not initially get into manipulation or generation of audio on-the-fly, something Flash has had for a number of years now. What if JavaScript could create, monitor and change audio dynamically, like a sort of audio <canvas> element? With that kind of capability, many dynamic audio processing features become feasible and, when combined with other media, can make for some impressive demos.\n\nWhat started as a small idea among a small group of audio and programming enthusiasts grew to inspire a W3C audio incubator group, and continued to establish the Mozilla Audio Data API. Contributors wrote a patch for Firefox which was reviewed and revised, and is now slated to be in the public release of Firefox 4. Some background and demos are also detailed in an article from the BBC R&D blog.\n\nThere are plenty of live demos to see, which give an impression of the new creative ideas this API enables. Many concepts are not new in themselves, but it is exciting to see this sort of thing happening within the native browser context.\n\nMozilla is not alone in this effort; the WebKit folks are also working on a JavaScriptAudioNode interface, which implements similar audio buffering and sample elements.\n\nThe future?\n\nIt is my hope that we\u2019ll see a common format emerge in terms of support across the major browsers for both audio and video; otherwise, support will continue to be fragmented and mildly frustrating to develop for, and that can impede growth of the feature. It\u2019s a big call, but if <img> had lacked a common format back in the wild west era, I doubt the web would have grown to where it is today.\n\nComplaints and nitpicks aside, HTML5 brings excellent progress on the browser multimedia front, and the first signs of native support are a welcome improvement given all audio and video previously relied on plugins. There is good reason to be excited. While there is room for more, support could certainly be much worse \u2013 and as tends to happen with specifications, the implementations targeting them should improve over time.\n\nNote: Thanks to Nate Koechley, who suggested the Audio().canPlayType() response be part of the article title.", "year": "2010", "author": "Scott Schiller", "author_slug": "scottschiller", "published": "2010-12-08T00:00:00+00:00", "url": "https://24ways.org/2010/the-state-of-html5-audio/", "topic": "code"}
{"rowid": 239, "title": "Using the WebFont Loader to Make Browsers Behave the Same", "contents": "Web fonts give us designers a whole new typographic palette with which to work. However, browsers handle the loading of web fonts in different ways, and this can lead to inconsistent user experiences.\n\nSafari, Chrome and Internet Explorer leave a blank space in place of the styled text while the web font is loading. Opera and Firefox show text with the default font which switches over when the web font has loaded, resulting in the so-called Flash of Unstyled Text (aka FOUT). Some people prefer Safari\u2019s approach as it eliminates FOUT, others think the Firefox way is more appropriate as content can be read whilst fonts download. Whatever your preference, the WebFont Loader can make all browsers behave the same way.\n\nThe WebFont Loader is a JavaScript library that gives you extra control over font loading. It was co-developed by Google and Typekit, and released as open source. The WebFont Loader works with most web font services as well as with self-hosted fonts.\n\nThe WebFont Loader tells you when the following events happen as a browser downloads web fonts (or loads them from cache):\n\n\n\twhen fonts start to download (\u2018loading\u2019)\n\twhen fonts finish loading (\u2018active\u2019)\n\tif fonts fail to load (\u2018inactive\u2019)\n\n\nIf your web page requires more than one font, the WebFont Loader will trigger events for individual fonts, and for all the fonts as a whole. This means you can find out when any single font has loaded, and when all the fonts have loaded (or failed to do so).\n\nThe WebFont Loader notifies you of these events in two ways: by applying special CSS classes when each event happens; and by firing JavaScript events. For our purposes, we\u2019ll be using just the CSS classes.\n\nImplementing the WebFont Loader\n\nAs stated above, the WebFont Loader works with most web font services as well as with self-hosted fonts.\n\nSelf-hosted fonts\n\nTo use the WebFont Loader when you are hosting the font files on your own server, paste the following code into your web page:\n\n<script type=\"text/javascript\">\nWebFontConfig = {\n\tcustom: { families: ['Font Family Name', 'Another Font Family'],\n\turls: [ 'http://yourwebsite.com/styles.css' ] }\n};\n(function() {\n\tvar wf = document.createElement('script');\n\twf.src = ('https:' == document.location.protocol ? 'https' : 'http') + '://ajax.googleapis.com/ajax/libs/webfont/1/webfont.js';\n\twf.type = 'text/javascript';\n\twf.async = 'true';\n\tvar s = document.getElementsByTagName('script')[0];\n\ts.parentNode.insertBefore(wf, s);\n})();\n</script>\n\nReplace Font Family Name and Another Font Family with a comma-separated list of the font families you want to check against, and replace http://yourwebsite.com/styles.css with the URL of the style sheet where your @font-face rules reside.\n\nFontdeck\n\nAssuming you have added some fonts to a website project in Fontdeck, use the afore-mentioned code for self-hosted solutions and replace http://yourwebsite.com/styles.css with the URL of the <link> tag in your Fontdeck website settings page. It will look something like http://f.fontdeck.com/s/css/xxxx/domain/nnnn.css.\n\nTypekit\n\nTypekit\u2019s JavaScript-based implementation incorporates the WebFont Loader events by default, so you won\u2019t need to include any WebFont Loader code.\n\nMaking all browsers behave like Safari\n\nTo make Firefox and Opera work in the same way as WebKit browsers (Safari, Chrome, etc.) and Internet Explorer, and thus minimise FOUT, you need to hide the text while the fonts are loading.\n\nWhile fonts are loading, the WebFont Loader adds a class of wf-loading to the <html> element. Once the fonts have loaded, the wf-loading class is removed and replaced with a class of wf-active (or wf-inactive if all of the fonts failed to load). This means you can style elements on the page while the fonts are loading and then style them differently when the fonts have finished loading.\n\nSo, let\u2019s say the text you need to hide while fonts are loading is contained in all paragraphs and top-level headings. By writing the following style rule into your CSS, you can hide the text while the fonts are loading:\n\n.wf-loading h1, .wf-loading p {\n\tvisibility:hidden;\n}\n\nBecause the wf-loading class is removed once the the fonts have loaded, the visibility:hidden rule will stop being applied, and the text revealed. You can see this in action on this simple example page.\n\nThat works nicely across the board, but the situation is slightly more complicated. WebKit doesn\u2019t wait for all fonts to load before displaying text: it displays text elements as soon as the relevant font is loaded. \n\nTo emulate WebKit more accurately, we need to know when individual fonts have loaded, and apply styles accordingly. Fortunately, as mentioned earlier, the WebFont Loader has events for individual fonts too.\n\nWhen a specific font is loading, a class of the form wf-fontfamilyname-n4-loading is applied. Assuming headings and paragraphs are styled in different fonts, we can make our CSS more specific as follows:\n\n.wf-fontfamilyname-n4-loading h1, \n.wf-anotherfontfamily-n4-loading p {\n\tvisibility:hidden;\n}\n\nNote that the font family name is transformed to lower case, with all spaces removed. The n4 is a shorthand for the weight and style of the font family. In most circumstances you\u2019ll use n4 but refer to the WebFont Loader documentation for exceptions.\n\nYou can see it in action on this Safari example page (you\u2019ll probably need to disable your cache to see any change occur).\n\nMaking all browsers behave like Firefox\n\nTo make WebKit browsers and Internet Explorer work like Firefox and Opera, you need to explicitly show text while the fonts are loading. In order to make this happen, you need to specify a font family which is not a web font while the fonts load, like this:\n\n.wf-fontfamilyname-n4-loading h1 { \n    font-family: 'arial narrow', sans-serif; \n}\n.wf-anotherfontfamily-n4-loading p { \n    font-family: arial, sans-serif; \n}\n\nYou can see this in action on the Firefox example page (again you\u2019ll probably need to disable your cache to see any change occur).\n\nAnd there\u2019s more\n\nThat\u2019s just the start of what can be done with the WebFont Loader. More areas to explore would be tweaking font sizes to reduce the impact of reflowing text and to better cater for very narrow fonts. By using the JavaScript events much more can be achieved too, such as fading in text as the fonts load.", "year": "2010", "author": "Richard Rutter", "author_slug": "richardrutter", "published": "2010-12-02T00:00:00+00:00", "url": "https://24ways.org/2010/using-the-webfont-loader-to-make-browsers-behave-the-same/", "topic": "code"}
{"rowid": 269, "title": "Adaptive Images for Responsive Designs\u2026 Again", "contents": "When I was asked to write an article for 24 ways I jumped at the chance, as I\u2019d been wanting to write about some fun hacks for responsive images and related parsing behaviours. My heart sank a little when Matt Wilcox beat me to the subject, but it floated back up when I realized I disagreed with his method and still had something to write about.\n\nSo, Matt Wilcox, if that is your real name (and I\u2019m pretty sure it is), I disagree. I see your dirty server-based hack and raise you an even dirtier client-side hack. Evil laugh, etc., etc.\n\nYou guys can stomach yet another article about responsive design, right? Right?\n\nHalf the room gets up to leave\n\nWhoa, whoa\u2026 OK, I\u2019ll cut to the chase\u2026\n\nTL;DR\n\nIn a previous episode, we were introduced to Debbie and her responsive cat poetry page. Well, now she\u2019s added some reviews of cat videos and some images of cats. Check out her new page and have a play around with the browser window. At smaller widths, the images change and the design responds. The benefits of this method are:\n\n\n\tit\u2019s entirely client-side\n\timages are still shown to users without JavaScript\n\tyour media queries stay in your CSS file\n\tno repetition of image URLs\n\tno extra downloads per image\n\tit\u2019s fast enough to work on resize\n\tit\u2019s pure filth\n\n\nWhat\u2019s wrong with the server-side solution?\n\nResponsive design is a client-side issue; involving the server creates a boatload of problems.\n\n\n\tIt sets a cookie at the top of the page which is read in subsequent requests. However, the cookie is not guaranteed to be set in time for requests on the same page, so the server may see an old value or no value at all.\n\tServing images via server scripts is much slower than plain old static hosting.\n\tThe URL can only cache with vary: cookie, so the cache breaks when the cookie changes, even if the change is unrelated. Also, far-future caching is out for devices that can change width.\n\tIt depends on detecting screen width, which is rather messy on mobile devices.\n\tResponding to things other than screen width (such as DPI) means packing more information into the cookie, and a more complicated script at the top of each page.\n\n\nSo, why isn\u2019t this straightforward on the client?\n\nClient-side solutions to the problem involve JavaScript testing user agent properties (such as screen width), looping through some images and setting their URLs accordingly. However, by the time JavaScript has sprung into action, the original image source has already started downloading. If you change the source of an image via JavaScript, you\u2019re setting off yet another request.\n\nImages are downloaded as soon as their DOM node is created. They don\u2019t need to be visible, they don\u2019t need to be in the document.\n\nnew Image().src = url\n\nThe above will start an HTTP request for url. This is a handy trick for quick requests and preloading, but also shows the browser\u2019s eagerness to download images.\n\nHere\u2019s an example of that in action. Check out the network tab in Web Inspector (other non-WebKit development aids are available) to see the image requests.\n\nBecause of this, some client-side solutions look like this:\n\n<img src=\"t.gif\" data-src=\"real-image.jpg\" data-bigger-src=\"real-bigger-image.jpg\">\n\nwhere t.gif is a 1\u00d71px tiny transparent GIF.\n\nThis results in no images if JavaScript isn\u2019t available. Dealing with the absence of JavaScript is still important, even on mobile. I was recently asked to make a website work on an old Blackberry 9000. I was able to get most of the way there by preventing that OS parsing any JavaScript, and that was only possible because the site didn\u2019t depend on it.\n\nWe need to delay loading images for JavaScript users, but ensure they load for users without JavaScript. How can we conditionally parse markup depending on JavaScript support?\n\nOh yeah! <noscript>!\n\n<noscript>\n    <img src=\"image.jpg\">\n</noscript>\n\nWhoa! First spacer GIFs and now <noscript>? This really is the future! The image above will only load for users without JavaScript support. Now all we need to do is send JavaScript in there to get the textContent of the <noscript> element, then we can alter the image source before handing it to the DOM for parsing.\n\nHere\u2019s an example of that working \u2026 unless you\u2019re using Internet Explorer.\n\nInternet Explorer doesn\u2019t retain the content of <noscript> elements. As soon as it\u2019s parsed, it considers it an empty element. FANKS INTERNET EXPLORER. This is why some solutions do this:\n\n<noscript data-src=\"image.jpg\">\n    <img src=\"image.jpg\">\n</noscript>\n\nso JavaScript can still get at the URL via the data-src attribute. However, repeating stuff isn\u2019t great. Surely we can do better than that.\n\nA dirty, dirty hack\n\nThankfully, I managed to come up with a solution, and by me, I mean someone cleverer than me. Pornel\u2019s solution uses <noscript>, but surely we don\u2019t need that.\n\nNow, before we look at this, I can\u2019t stress how dirty it is. It\u2019s so dirty that if you\u2019ve seen it, schools will refuse to employ you.\n\n<script>document.write('<' + '!--')</script>\n<img src=\"image.jpg\">\n<!---->\n\nPhwoar! Dirty, isn\u2019t it? I\u2019ll stop for a moment, so you can go have a wash.\n\nDone? Excellent.\n\nWith this, the image is wrapped in a comment only for users with JavaScript. Without JavaScript, we get the image. Unlike the <noscript> example above, we can get the text content of the comment pretty easily.\n\nHurrah! But wait\u2026 Some browsers are sometimes downloading the image, even with JavaScript enabled. Notably Firefox. Huh?\n\nImages are downloaded in comments now? What?\n\nNo. What we\u2019re seeing here is the effect of speculative parsing. Here\u2019s what\u2019s happening:\n\n\n\nWhile the browser is parsing the script, it parses the rest of the document. This is usually a good thing, as it can download subsequent images and scripts without waiting for the script to complete. The problem here is we create an unbalanced tree.\n\n An unbalanced tree, yesterday.\n\nIn this case, the browser must throw away its speculative parsing and reparse from the end of the <script> element, taking our document.write into consideration. Unfortunately, by this stage it may have already discovered the image and sent an HTTP request for it.\n\nA dirty, dirty hack\u2026 that works\n\nPornel was right: we still need the <noscript> element to cater for browsers with speculative parsing.\n\n<script>document.write('<' + '!--')</script><noscript>\n    <img src=\"image.jpg\">\n</noscript -->\n\nAnd there we have it. We can now prevent images loading for users with JavaScript, but we can still get at the markup.\n\nWe\u2019re still creating an unbalanced tree and there\u2019s a performance impact in that. However, the parser won\u2019t have got far by the time our script executes, so the impact is small. Unbalanced trees are more of a concern for external scripts; a lot of parsing can happen by the time the script has downloaded and parsed.\n\nUsing dirtiness to create responsive images\n\nNow all we need to do is give each of our dirty scripts a class name, then JavaScript can pick them up, grab the markup from the comment and decide what to do with the images.\n\nThis technique isn\u2019t exclusively useful for responsive images. It could also be used to delay images loading until they\u2019ve scrolled into view. But to do that you\u2019ll need a bulletproof way of detecting when elements are in view. This involves getting the height of the viewport, which is extremely unreliable on mobile devices.\n\nHere\u2019s a hastily thrown together example showing how it can be used for responsive images.\n\nI adjust the end of the image URLs conditionally depending on the result of media queries. This is done on page load, and on resize.\n\nI\u2019m using regular expressions to alter the URLs. Using regex to deal with HTML is usually a sign of insanity, but parsing it with the browser\u2019s DOM parser would trigger the download of images before we change the URLs. My implementation currently requires double-quoted image URLs, because I\u2019m lazy. Wanna fight about it?\n\nMedia querying via JavaScript\n\nJeremy Keith used document.documentElement.clientWidth in his example, which is great as a proof of concept, but unfortunately is rather unreliable across mobile devices.\n\nThankfully, standards are coming to the rescue with window.matchMedia, which lets us provide a media query string and get a boolean result. There\u2019s even a great polyfill for browsers that don\u2019t support it (as long as they support media queries in CSS).\n\nI didn\u2019t go with that for three reasons:\n\n\n\tI\u2019d like to keep media queries in the CSS file, if possible.\n\tI wanted something a little lighter to keep things speedy while resizing.\n\tIt\u2019s just not dirty enough yet.\n\n\nTo make things ultra-dirty, I add a test element to the page with a specific class, let\u2019s say media-test. Then, I control the width of it using media queries in my CSS file:\n\n@media all and (min-width: 640px) {\n    .media-test {\n        width: 1px;\n    }\n}\n@media all and (min-width: 926px) {\n    .media-test {\n        width: 2px;\n    }\n}\n\nThe JavaScript part changes the URL suffix depending on the width of media-test. I\u2019m using a min-width media query, but you can use others such as pixel-ratio to detect high DPI displays. Basically, it\u2019s a hacky way for CSS to set a value that can be picked up by JavaScript. It means the bit that signals changes to the images sits with the rest of the responsive code, without duplication.\n\nAlso, phwoar, dirty!\n\nThe API\n\nI threw a script together to demonstrate the technique. I\u2019m not particularly attached to it, I\u2019m not even sure I like it, but here\u2019s the API:\n\nresponsiveGallery({\n    // Class name of dirty script element(s) to target\n    scriptClass: 'dirty-gallery-script',\n    // Class name for our test element\n    testClass: 'dirty-gallery-test',\n    // The initial suffix of URLs, the bit that changes.\n    initialSuffix: '-mobile.jpg',\n    // A map of suffixes, for each width of 'dirty-gallery-test'\n    suffixes: {\n        '1': '-desktop.jpg',\n        '2': '-large-desktop.jpg',\n        '3': '-mobile-retina.jpg'\n    }\n});\n\nThe API can cover individual images or multiple galleries at once. In the example I gave at the start of the article I make two calls to the API, one for both galleries, and one for the single image above the video reviews. They\u2019re separate calls because they respond slightly differently.\n\nThe future\n\nHopefully, we\u2019ll get a proper solution to this soon. My favourite suggestion is the <picture> element that Bruce Lawson covers.\n\n<picture alt=\"Angry pirate\">\n    <source src=\"hires.png\" media=\"min-width:800px\">\n    <source src=\"midres.png\" media=\"min-width:480px\">\n    <source src=\"lores.png\">\n    <!-- fallback for browsers without support -->\n    <img src=\"midres.png\" alt=\"Angry pirate\">\n</picture>\n\nUnfortunately, we\u2019re nowhere near that yet, and I\u2019d still rather have my media queries stay in CSS. Perhaps the source elements could be skipped if they\u2019re display:none; then they could have class names and be controlled via CSS. Sigh.\n\nWell, I\u2019m tired of writing now and I\u2019m sure you\u2019re tired of reading. I realize what I\u2019ve presented is a yet another dirty hack to the responsive image problem (perhaps the dirtiest?) and may be completely unfeasible in professional situations. But isn\u2019t that the true spirit of Christmas?\n\nNo.", "year": "2011", "author": "Jake Archibald", "author_slug": "jakearchibald", "published": "2011-12-08T00:00:00+00:00", "url": "https://24ways.org/2011/adaptive-images-for-responsive-designs-again/", "topic": "ux"}
{"rowid": 274, "title": "Adaptive Images for Responsive Designs", "contents": "So you\u2019ve been building some responsive designs and you\u2019ve been working through your checklist of things to do:\n\n\n\tYou started with the content and designed around it, with mobile in mind first.\n\tYou\u2019ve gone liquid and there\u2019s nary a px value in sight; % is your weapon of choice now.\n\tYou\u2019ve baked in a few media queries to adapt your layout and tweak your design at different window widths.\n\tYou\u2019ve made your images scale to the container width using the fluid Image technique.\n\tYou\u2019ve even done the same for your videos using a nifty bit of JavaScript.\n\n\nYou\u2019ve done a good job so pat yourself on the back. But there\u2019s still a problem and it\u2019s as tricky as it is important: image resolutions.\n\nHTML has an <img> problem\n\nCSS is great at adapting a website design to different window sizes \u2013 it allows you not only to tweak layout but also to send rescaled versions of the design\u2019s images. And you want to do that because, after all, a smartphone does not need a 1,900-pixel background image1.\n\nHTML is less great. In the same way that you don\u2019t want CSS background images to be larger than required, you don\u2019t want that happening with <img>s either. A smartphone only needs a small image but desktop users need a large one. Unfortunately <img>s can\u2019t adapt like CSS, so what do we do?\n\nWell, you could just use a high resolution image and the fluid image technique would scale it down to fit the viewport; but that\u2019s sending an image five or six times the file size that\u2019s really needed, which makes it slow to download and unpleasant to use. Smartphones are pretty impressive devices \u2013 my ancient iPhone 3G is more powerful in every way than my first proper computer \u2013 but they\u2019re still terribly slow in comparison to today\u2019s desktop machines. Sending a massive image means it has to be manipulated in memory and redrawn as you scroll. You\u2019ll find phones rapidly run out of RAM and slow to a crawl.\n\nWell, OK. You went mobile first with everything else so why not put in mobile resolution <img>s too? Because even though mobile devices are rapidly gaining share in your analytics stats, they\u2019re still not likely to be the major share of your user base. I don\u2019t think desktop users would be happy with pokey little mobile resolution images, do you? What we need are adaptive images.\n\nAdaptive image techniques\n\nThere are a number of possible solutions, each with pros and cons, and it\u2019s not as simple to find a graceful solution as you might expect.\n\nYour first thought might be to use JavaScript to trawl through the markup and rewrite the source attribute. That\u2019ll get you the right end result, but it\u2019ll have done it in a way you absolutely don\u2019t want. That\u2019s because of the way browsers load resources. It starts to load the HTML and builds the page on-the-fly; as soon as it finds an <img> element it immediately asks the server for that image. After the HTML has finished loading, the JavaScript will run, change the src attribute, and then the browser will request that new image too. Not instead of, but as well as. Not good: that\u2019s added more bloat instead of cutting it.\n\nPlain JavaScript is out then, which is a problem, because what other tools do we have to work with as web designers? Let\u2019s ignore that for now and I\u2019ll outline another issue with the concept of serving different resolution images for different window widths: a basic file management problem. To request a different image, that image has to exist on the server. How\u2019s it going to get there? That\u2019s not a trivial problem, especially if you have non-technical users that update content through a CMS. Let\u2019s say you solve that \u2013 do you plan on a simple binary switch: big image|little image? Is that really efficient or future-proof? What happens if you have an archive of existing content that needs to behave this way? Can you apply such a solution to existing content or markup?\n\nThere\u2019s a detailed round-up of potential techniques for solving the adaptive images problem over at the Cloud Four blog if you fancy a dig around exploring all the options currently available. But I\u2019m here to show you what I think is the most flexible and easy to implement solution, so here we are.\n\nAdaptive Images\n\nAdaptive Images aims to mitigate most of the issues surrounding the problems of bringing the venerable <img> tag into the 21st century. And it works by leaving that tag completely alone \u2013 just add that desktop resolution image into the markup as you\u2019ve been doing for years now. We\u2019ll fix it using secret magic techniques and bottled pixie dreams. Well, fine: with one .htaccess file, one small PHP file and one line of JavaScript. But you\u2019re killing the mystique with that kind of talk.\n\nSo, what does this solution do?\n\n\n\tIt allows <img>s to adapt to the same break points you use in your media queries, giving granular control in the same way you get with your CSS.\n\tIt installs on your server in five minutes or less and after that is automatic and you don\u2019t need to do anything.\n\tIt generates its own rescaled images on the server and doesn\u2019t require markup changes, so you can apply it to existing web content.\n\tIf you wish, it will make all of your images go mobile-first (just in case that\u2019s what you want if JavaScript and cookies aren\u2019t available).\n\n\nSound good? I hope so. Here\u2019s what you do.\n\nSetting up and rolling out\n\nI\u2019ll assume you have some basic server knowledge along with that wealth of front-end wisdom exploding out of your head: that you know not to overwrite any existing .htaccess file for example, and how to set file permissions on your server. Feeling up to it? Excellent.\n\n\n\tDownload the latest version of Adaptive Images either from the website or from the GitHub repository.\n\tUpload the included .htaccess and adaptive-images.php files into the root folder of your website.\n\tCreate a directory called ai-cache and make sure the server can write to it (CHMOD 755 should do it).\n\tAdd the following line of JavaScript into the <head> of your site:\n\n\n<script>document.cookie='resolution='+Math.max(screen.width,screen.height)+'; path=/\u2018;</script>\n\nThat\u2019s it, unless you want to tweak the default settings. You likely do, but essentially you\u2019re already up and running.\n\nHow it works\n\nAdaptive Images does a number of things depending on the scenario the script has to handle, but here\u2019s a basic overview of what it does when you load a page running it:\n\n\n\tA session cookie is written with the value of the visitor\u2019s screen size in pixels.\n\tThe HTML encounters an <img> tag and sends a request to the server for that image. It also sends the cookie, because that\u2019s how browsers work.\n\tApache sits on the server and receives the request for the image. Apache then has a look in the .htaccess file to see if there are any special instructions for files in the requested URL.\n\tThere are! The .htaccess says \u201cHey, server! Any request you get for a JPG, GIF or PNG file just send to the adaptive-images.php file instead.\u201d\n\tThe PHP file then does some intelligent thinking which can cover a number of scenarios, but I\u2019ll illustrate one path that can happen:\n\n\n\t\n\t\tThe PHP file looks for the cookie and finds out that the user has a maximum screen width of 480px.\n\t\tThe PHP has a look at the available media query sizes that were configured and decides which one matches the user\u2019s device.\n\t\tIt then has a look inside the /ai-cache/480/ folder to see if a rescaled image already exists there.\n\t\tWe\u2019ll pretend it doesn\u2019t \u2013 the PHP then goes to the actual requested URI and finds that the original file does exist.\n\t\tIt has a look to see how wide that image is. If it\u2019s already smaller than the user\u2019s screen width it sends it along and stops there. But, let\u2019s pretend the image is 1,000px wide.\n\t\tThe PHP then resizes the image and saves it into the /ai-cache/480 folder ready for the next time someone needs it.\n\t\n\nIt also does a few other things when needs arise, for example:\n\n\n\tIt sends images with a cache header field that tells proxies not to cache the image, while telling browsers they should. This avoids problems with proxy servers and network caching systems grabbing the wrong image and storing it.\n\tIt handles cases where there isn\u2019t a cookie set, and you can choose whether to then send the mobile version or the largest configured media query size.\n\tIt compares timestamps between the source image and the generated cache image \u2013 to ensure that if the source image gets updated, the old cached file won\u2019t be sent.\n\n\nCustomizing\n\nThere are a few options you can customize if you don\u2019t like the default values. By looking in the PHP\u2019s configuration section at the top of the file, you can:\n\n\n\tSet the resolution breakpoints to match your media query break points.\n\tChange the name and location of the ai-cache folder.\n\tChange the quality level any generated JPG images are saved at.\n\tHave it perform a subtle sharpen on rescaled images to help keep detail.\n\tToggle whether you want it to compare the files in the cache folder with the source ones or not.\n\tSet how long the browser should cache the images for.\n\tSwitch between a mobile-first or desktop-first approach when a cookie isn\u2019t found.\n\n\nMore importantly, you probably want to omit a few folders from the AI behaviour. You don\u2019t need or want it resizing the images you\u2019re using in your CSS, for example. That\u2019s fine \u2013 just open up the .htaccess file and follow the instructions to list any directories you want AI to ignore. Or, if you\u2019re a dab hand at RewriteRules you can remove the exclamation mark at the start of the rule and it\u2019ll only apply AI behaviour to a given list of folders.\n\nCaveats\n\nAs I mentioned, I think this is one of the most flexible, future-proof, retrofittable and easy to use solutions available today. But, there are problems with this approach as there are with all of the ones I\u2019ve seen so far.\n\nThis is a PHP solution\n\nI wish I was smarter and knew some fancy modern languages the cool kids discuss at parties, but I don\u2019t. So, you need PHP on your server. That said, Adaptive Images has a Creative Commons licence2 and I would welcome anyone to contribute a port of the code3. \n\nContent delivery networks\n\nAdaptive Images relies on the server being able to: intercept requests for images; do some logic; and send one of a given number of responses. Content delivery networks are generally dumb caches, and they won\u2019t allow that to happen. Adaptive Images will not work if you\u2019re using a CDN to deliver your website.\n\nA minor but interesting cookie issue.\n\nAs Yoav Weiss pointed out in his article Preloaders, cookies and race conditions, there is no way to guarantee that a cookie will be set before images are requested \u2013 even though the JavaScript that sets the cookie is loaded by the browser before it finds any <img> tags. That could mean images being requested without a cookie being available. Adaptive Images has a two-fold mechanism to avoid this being a problem:\n\n\n\tThe $mobile_first toggle allows you to choose what to send to a browser if a cookie isn\u2019t set. If FALSE then it will send the highest configured resolution; if TRUE it will send the lowest.\n\tEven if set to TRUE, Adaptive Images checks the User Agent String. If it discovers the user is on a desktop environment, it will override $mobile_first and set it to FALSE.\n\n\nThis means that if $mobile_first is set to TRUE and the user was unlucky (their browser didn\u2019t write the cookie fast enough), mobile devices will be supplied with the smallest image, and desktop devices will get the largest.\n\nThe best way to get a cookie written is to use JavaScript as I\u2019ve explained above, because it\u2019s the fastest way. However, for those that want it, there is a JavaScript-free method which uses CSS and a bogus PHP \u2018image\u2019 to set the cookie. A word of caution: because it requests an external file, this method is slower than the JavaScript one, and it is very likely that the cookie won\u2019t be set until after images have been requested.\n\nThe future\n\nFor today, this is a pretty good solution. It works, and as it doesn\u2019t interfere with your markup or source material in any way, the process is non-destructive. If a future solution is superior, you can just remove the Adaptive Images files and you\u2019re good to go \u2013 you\u2019d never know AI had been there.\n\nHowever, this isn\u2019t really a long-term solution, not least because of the intermittent problem of the cookie and image request race condition. What we really need are a number of standardized ways to handle this in the future.\n\nFirst, we could do with browsers sending far more information about the user\u2019s environment along with each HTTP request (device size, connection speed, pixel density, etc.), because the way things work now is no longer fit for purpose. The web now is a much broader entity used on far more diverse devices than when these technologies were dreamed up, and we absolutely require the server to have better knowledge about device capabilities than is currently possible. Relying on cookies to do this job doesn\u2019t cut it, and the User Agent String is a complete mess incapable of fulfilling the various purposes we are forced to hijack it for.\n\nSecondly, we need a W3C-backed markup level solution to supply semantically different content at different resolutions, not just rescaled versions of the same content as Adaptive Images does.\n\nI hope you\u2019ve found this interesting and will find Adaptive Images useful.\n\nFootnotes\n\n1 While I\u2019m talking about preventing smartphones from downloading resources they don\u2019t need: you should be careful of your media query construction if you want to stop WebKit downloading all the images in all of the CSS files.\n\n2 Adaptive Images has a very broad Creative Commons licence and I warmly welcome feedback and community contributions via the GitHub repository. \n\n3 There is a ColdFusion port of an older version of Adaptive Images. I do not have anything to do with ported versions of Adaptive Images.", "year": "2011", "author": "Matt Wilcox", "author_slug": "mattwilcox", "published": "2011-12-04T00:00:00+00:00", "url": "https://24ways.org/2011/adaptive-images-for-responsive-designs/", "topic": "ux"}
{"rowid": 266, "title": "Collaborative Development for a Responsively Designed Web", "contents": "In responsive web design we\u2019ve found a technique that allows us to design for the web as a medium in its own right: one that presents a fluid, adaptable and ever changing canvas.\n\nUntil this point, we gave little thought to the environment in which users will experience our work, caring more about the aggregate than the individual. The applications we use encourage rigid layouts, whilst linear processes focus on clients signing off paintings of websites that have little regard for behaviour and interactions. The handover of pristine, pixel-perfect creations to developers isn\u2019t dissimilar to farting before exiting a crowded lift, leaving front-end developers scratching their heads as they fill in the inevitable gaps. If you haven\u2019t already, I recommend reading Drew\u2019s checklist of things to consider before handing over a design.\n\nSomehow, this broken methodology has survived for the last fifteen years or so. Even the advent of web standards has had little impact. Now, as we face an onslaught of different devices, the true universality of the web can no longer be ignored.\n\nResponsive web design is just the thin end of the wedge. Largely concerned with layout, its underlying philosophy could ignite a trend towards interfaces that adapt to any number of different variables: input methods, bandwidth availability, user preference \u2013 you name it!\n\nWith such adaptability, a collaborative and iterative process is required. Ethan Marcotte, who worked with the team behind the responsive redesign of the Boston Globe website, talked about such an approach in his book:\n\n\n\tThe responsive projects I\u2019ve worked on have had a lot of success combining design and development into one hybrid phase, bringing the two teams into one highly collaborative group.\n\n\nWhilst their process still involved the creation of desktop-centric mock-ups, these were presented to the entire team early on, where questions about how pages might adapt and behave at different sizes were asked. Mock-ups were quickly converted into HTML prototypes, meaning further decisions could be based on usage rather than guesswork (and endless hours spent in Photoshop).\n\nRegardless of the exact process, it\u2019s clear that the relationship between our two disciplines is more crucial than ever. Yet, historically, it seems a wedge has been driven between us \u2013 perhaps a result of segregation and waterfall-style processes \u2013 resulting in animosity.\n\nSo how can we improve this relationship? Ultimately, we\u2019ll need to adapt, but even within existing workflows we can start to overlap. Simply adjusting our attitude can effect change, and bring design and development teams closer together.\n\n\n\tGood design is constant contact.\n\n\tMark Otto\n\n\nThe way we work needs to be more open and inclusive. For example, ensuring members of the development team attend initial kick-off meetings and design workshops will not only ensure technical concerns are raised, but mean that those implementing our designs better understand the problems we\u2019re trying to solve.\n\nIt can also be useful at this stage to explain how you work and the sort of deliverables you expect to produce. This will give developers a chance to make recommendations on how these can be optimized for their own needs.\n\nYou may even find opportunities to share the load. On a recent project I worked on, our development partners offered to produce the interactive prototypes needed for user testing. This allowed us to concentrate on refining the experience, whilst they were able to get a head start on building the product.\n\nWhile developers should be involved at the beginning of projects, it\u2019s also important that designers are able to review and contribute to a product as it\u2019s being built. Any handover should be done in person, and ideally you\u2019ll have a day set aside to do so. Having additional budget available for follow-up design reviews is also recommended. Learning how to use version control tools like Subversion or Git will allow you to work within the same environment as developers, and allow you to contribute code or graphic assets directly to a project if needed.\n\nDon\u2019t underestimate the benefits of designer and developer sitting next to each other. Subtle nuances can be explored far more easily than if they were conducted over email or phone. As Ethan writes, \u201c\u2018Design\u2019 is the means, not merely the end; the path we walk over the course of a project, the choices we make\u201d.\n\nIt\u2019s from collaboration like this that I\u2019ve become fond of producing visual style guides. These demonstrate typographic treatments for common markup and patterns (blockquotes, lists, pagination, basic form controls and so on). Thinking in terms of components rather than individual pages not only fits in better with how a developer will implement a site, but can also ensure your design works as a coherent whole.\n\nDespite the amount of research and design produced, when it comes to the crunch, there will always be a need for compromise. As the old saying goes, \u2018fast, cheap and good \u2013 pick two.\u2019 It\u2019s important that you know which pieces are crucial to a design and which areas can allow for movement. Pick your battles wisely. Having an agreed set of design principles can be useful when making such decisions, as they help everyone focus on the goals of the project.\n\n\n\tThe best compromises are reached when both sides understand the issues of the other.\n\n\tRichard Rutter\n\n\nUltimately, better collaboration comes through a shared understanding of the different competencies required to build a website. Instead of viewing ourselves in terms of discrete roles, we should instead look to emphasize our range of abilities, and work with others whose skills are complementary.\n\nPerhaps somebody who actively seeks to broaden their knowledge is the mark of a professional. Seek these people out.\n\nThe best developers I\u2019ve worked with have a respect for design, probably having attempted to do some themselves! Having wrangled with a few MySQL databases myself, I certainly believe the obverse is true. While knowing HTML won\u2019t necessarily make you a better designer, it will help you understand the issues being faced by a front-end developer and, more importantly, allow you to offer solutions or alternative approaches.\n\nSo take a moment to think about how you work with developers and how you could improve your relationship with them. What are you doing to ease the path towards our collaborative future?", "year": "2011", "author": "Paul Lloyd", "author_slug": "paulrobertlloyd", "published": "2011-12-05T00:00:00+00:00", "url": "https://24ways.org/2011/collaborative-development-for-a-responsively-designed-web/", "topic": "business"}
{"rowid": 285, "title": "Composing the New Canon: Music, Harmony, Proportion", "contents": "Ohne Musik w\u00e4re das Leben ein Irrtum\n\u2014Friedrich NIETZSCHE, G\u00f6tzen-D\u00e4mmerung, Spr\u00fcche und Pfeile 33, 1889\n\n\nSomehow, music is hardcoded in human beings. It is something we understand and respond to without prior knowledge. Music exercises the emotions and our imaginative reflex, not just our hearing. It behaves so much like our emotions that music can seem to symbolize them, to bear them from one person to another. Not surprisingly, it conjures memories: the word music derives from Greek \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae (mousike), art of the Muses, whose mythological mother was Mnemosyne, memory. But it can also summon up the blood, console the bereaved, inspire fanaticism, bolster governments and dissenters alike, help us learn, and make web designers dance. And what would Christmas be without music?\n\nMusic moves us, often in ways we can\u2019t explain. By some kind of alchemy, music frees us from the elaborate nuisance and inadequacy of words. Across the world and throughout recorded history \u2013 and no doubt well before that \u2013 people have listened and made (and made out to) music.\n\n\n\t[I]t appears probable that the progenitors of man, either the males or females or both sexes, before acquiring the power of expressing their mutual love in articulate language, endeavoured to charm each other with musical notes and rhythm.\n\u2014Charles DARWIN, The Descent of Man, and Selection in Relation to Sex, 1871\n\n\nIt\u2019s so integral to humankind, we\u2019ve sent it into space as a totem for who we are. (Who knows? It might be important.) Music is essential, a universal compulsion; as Nietzsche wrote, without music life would be a mistake.\n\nMusic, design and web design\n\nThere are some obvious and notable similarities between music and visual design. Both can convey mood and evoke emotion but, even under close scrutiny, how they do that remains to a great extent mysterious. Each has formal qualities or parts that can be abstracted, analysed and discussed, often using the same terminology: composition, harmony, rhythm, repetition, form, theme; even colour, texture and tone.\n\nA possible reason for these shared aspects is that both visual design and music are means to connect with people in deep and lasting ways. Furthermore, I believe the connections to be made can complement direct emotional appeal. Certain aesthetic qualities in music work on an unconscious and, it could be argued, universal level. Using musical principles in our designs, then, can help provide the connectedness between content, device and user that we now seek as web designers.\n\nYet, when we talk about music and web design, the conversation is almost always about the music designers listen to while working, a theme finding its apotheosis in Designers.MX. Sometimes, articles in that dreary list format seek inspiration from music industry websites. There\u2019s even a service offering pre-templated web designs for bands, and at least one book surveyed the landscape back in 2006. Occasionally, discussions broaden somewhat into whether and how different kinds of music can inspire and influence the design work we produce.\n\nSuch enquiries, it seems to me, are beside the point. Do I really design differently when I listen to Bach rather than Bacharach? Will the barely restrained energy of Count Basie\u2019s The Kid from Red Bank mean I choose a lively colour palette, and rural, autumnal shades when inspired by Fleet Foxes? Mahler means a thirteen-column layout? Gillian Welch leads to distressed black and white photography? While reflecting the importance we place in music and how it seems to help us in our work, surveys on musical taste and lists of favourite artists fail to recognize that some of the fundamental aesthetic characteristics of music can be adapted and incorporated into modern web design.\n\nAntiphonal geometry\n\nOver recent years, web designers have embraced grid systems as powerful tools to help create good-looking and intuitive user experiences. With the advent of responsive design, these grids and their contents must adapt to the different screen sizes and properties of all kinds of user devices. Finding and using grid values that can scale well and retain or enhance their proportions and relationships while making the user experience meaningful in several different contexts is more important than ever.\n\nIn print, this challenge has always started with the dimensions and proportions of the page. Content can thereby be made to belong inside the page and be bound to it. And music has been used for centuries to further this aim. As Robert Bringhurst says in The Elements of Typographical Style:\n\n\n\tIndeed, one of the simplest of all systems of page proportions is based on the familiar intervals of the diatonic scale. Pages that embody these basic musical proportions have been in common use in Europe for more than a thousand years.\n\n\nVery well. But while he goes on to list (from the full chromatic scale, rather than just diatonic) the proportions and the musical intervals they\u2019re based on, Bringhurst fails to mention what they\u2019re ratios of or their potential effects. Shame. In his favour, however, he later touches on how proportions in print might be considered to work:\n\n\n\tThe page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which must answer to the page. The two together \u2013 page and textblock \u2013 produce an antiphonal geometry. That geometry alone can bond the reader to the book. Or conversely, it can put the reader to sleep, or put the reader\u2019s nerves on edge, or drive the reader away.\n\n\nSo what does Bringhurst mean by antiphonal geometry, a phrase that marries the musical to the spatial? By stating that the textblock \u201cmust answer to the page\u201d, the implication is that the relationship between the proportions of the page and the shape of the textblock printed on it embodies a spatial (geometrical) call-and-response (antiphony) that can be appealing or not.\n\nBoulton\u2019s new canon\n\nBut, as Mark Boulton has pointed out, on the web \u201cthere are no edges. There are no \u2018pages\u2019. We\u2019ve made them up.\u201d So, what is to be done? In January 2011 at the New Adventures in Web Design conference, Boulton presented his vision of a new canon of web design, a set of principles to guide us as we design the web. There are three overlapping tenets:\n\n\n\tdesign from the content out\n\tcreate connectedness between the different content elements\n\tbind the content to the web device\n\n\nRather than design from the edges in, we need to design layout systems from the content out. To this end, Boulton asserts that grid system design should begin with a constraint, and he suggests we use the size of a fixed content element, such as an advertising unit or image, as a starting point for online grid calculations. Khoi Vinh advocates the same approach in his book, Ordering Disorder: Grid Principles for Web Design.\n\nBoulton\u2019s second and third tenets, however, are more complex and overlap significantly with each other. Connecting the different parts of the content and binding the content to the device share many characteristics and solutions:\n\n\n\tadopting ems and percentages as units of size for layout elements\n\taltering text size, line length and line height for different viewport dimensions\n\tproviding higher resolution images for devices with greater pixel densities\n\tfluid layout grids, flexible images and responsive design\n\n\nAll can help relate the presentation of the content to its delivery in a certain context.\n\nBut how do we determine the relationship between one element of a layout and another? How can we avoid making arbitrary decisions about the relative sizes of parts of our designs? What can we use to connect the parts of our design to one another, and how can we bind the presentation of the content to the user\u2019s device?\n\nTim Brown\u2019s application of modular typographic scales hints at an answer. In the very useful tool he created for calculating such scales, Brown includes two musical ratios: the perfect fifth (2:3); and the perfect fourth (3:4). Why? Where do they come from? And what do they mean?\n\nHarmonies musical and visual\n\nFundamental to music are rhythm and harmony.\n\nAs any drummer will tell you, without rhythm there is no music. Even when there\u2019s no regular beat, any tune follows a rhythm, however irregular, simply because a change of note is a point of change in the music. Although rhythm, timing and pacing are all relevant to interaction design, right now it\u2019s harmony we\u2019re interested in.\n\nSometimes harmony is called the vertical aspect of music, and melody the horizontal. But this conceit overlooks the fact that harmony is both vertical and horizontal. A single melodic line, as it is played, implies various sets of harmonies on which it is grounded, whether or not those harmonies are played. So, harmony doesn\u2019t just sit vertically beneath the horizontal melody, but moves horizontally as well, through harmonic progression.\n\nTo stretch this arrangement pixel-thin, we could argue that in onscreen design melody is the content, and the layout and arrangement of the content is the harmony. We sometimes say a design is harmonious when the interplay of different elements of a design is pleasing or balanced or in proportion, and the content (the melody) is set off or conveyed well by or appropriate to the design.\n\nWe seem to know instinctively whether a layout is harmonious\u2026\n\nIn the design of The Great Discontent, the relationships between different elements combine to form a balanced whole.\n\n\u2026or not.\n\nThere\u2019s no harmony in the Department for Education\u2019s website because the different parts of the content don\u2019t feel related to one another.\n\nWhat is it that makes one design harmonious and another dissonant? It\u2019s not just whether things line up, though that\u2019s a start. I believe there are much deeper aesthetic forces at work, forces we can tap into in our onscreen designs. Now, I\u2019m not going start a difficult discussion about aesthetics. For our purposes, we just need to know that it\u2019s the branch of philosophy dealing with the nature of beauty, and the creation and perception of beauty. And among the key components in the perception of beauty are harmony and proportion. These have been part of traditional western aesthetics since Plato (about 2,500 years).\n\nOne of the ways we appreciate the beauty of music is through the harmonic intervals we hear. A musical interval is a combination of two notes and it describes the distance between the two pitches. For example, the distance between C and the G above it (if we take C as the tonic or root) is called a perfect fifth.\n\nLeft: C to G, a perfect fifth. Right: C and G, not a perfect fifth.\n\n \n\nAnd, to get superficially scientific for a moment, each musical interval can be expressed as a ratio of the wavelength frequencies of the notes; for our perfect fifth, with every two wavelengths of C, there are three of G. And what is a ratio, if not a proportion of one thing to another?\n\nSo, simple musical harmony (using what\u2019s known as just intonation1) affords us a set of proportions, expressed as ratios. Where better to apply these ideas of harmony and proportion from music in web design, than grid systems?\n\nA digression: whither \u03c6?\n\nQuite often in our discussions of pure design and aesthetics, we mention the golden ratio and regurgitate the same justifications for its use: roots in antiquity; embodied in classical and Renaissance architecture and art; occurrence in nature; the New Twitter, and so forth (oh, really?).\n\nYet the ratios of musical intervals from just intonation are equally venerable and much more widespread: described by Pythagorus; employed in Palladian architecture, and printing, books and art from the Renaissance onwards; in modern times, film and television dimensions; standard international paper sizes (ISO 216, the A and B series); and, again and again, screen dimensions \u2013 chances are that screen you\u2019re probably looking at right now has the proportions 2:3 (iPhone and iPod Touch), 3:4 (iPad and Kindle), 3:5 (many smartphones), 5:8 or 16:9 (many widescreen monitors), all ratios of musical intervals.\n\nBack to our theme\u2026\n\nMusical interval ratios\n\nLet\u2019s take a look at most of the ratios within a couple of octaves and crunch some numbers to generate some percentages and other values that we can use in our designs. First, the intervals and their ratios in just intonation and expressed as ratios of one:\n\n\n\t\t\n\t\t\tName \n\t\t\tInterval in C \n\t\t\tRatio \n\t\t\tRatio (1:x) \n\t\t\n\t\t\n\t\t\t unison \n\t\t\t C\u2192C \n\t\t\t 1:1 \n\t\t\t 1:1 \n\t\t\n\t\t\n\t\t\t minor second \n\t\t\t C\u2192D\u266d \n\t\t\t 15:16 \n\t\t\t 1:1.067 \n\t\t\n\t\t\n\t\t\t major second \n\t\t\t C\u2192D \n\t\t\t 8:9 \n\t\t\t 1:1.125 \n\t\t\n\t\t\n\t\t\t minor third \n\t\t\t C\u2192E\u266d \n\t\t\t 5:6 \n\t\t\t 1:1.2 \n\t\t\n\t\t\n\t\t\t major third \n\t\t\t C\u2192E \n\t\t\t 4:5 \n\t\t\t 1:1.25 \n\t\t\n\t\t\n\t\t\t perfect fourth \n\t\t\t C\u2192F \n\t\t\t 3:4 \n\t\t\t 1:1.333 \n\t\t\n\t\t\n\t\t\t augmented fourth \nor diminished fifth \n\t\t\t C\u2192F\u266f/G\u266d \n\t\t\t 1:\u221a2 \n\t\t\t 1:1.414 \n\t\t\n\t\t\n\t\t\t perfect fifth \n\t\t\t C\u2192G \n\t\t\t 2:3 \n\t\t\t 1:1.5 \n\t\t\n\t\t\n\t\t\t minor sixth \n\t\t\t C\u2192A\u266d \n\t\t\t 5:8 \n\t\t\t 1:1.6 \n\t\t\n\t\t\n\t\t\t major sixth \n\t\t\t C\u2192A \n\t\t\t 3:5 \n\t\t\t 1:1.667 \n\t\t\n\t\t\n\t\t\t minor seventh \n\t\t\t C\u2192B\u266d \n\t\t\t 9:16 \n\t\t\t 1:1.778 \n\t\t\n\t\t\n\t\t\t major seventh \n\t\t\t C\u2192B \n\t\t\t 8:15 \n\t\t\t 1:1.875 \n\t\t\n\t\t\n\t\t\t octave \n\t\t\t C\u2192C\u2191 \n\t\t\t 1:2 \n\t\t\t 1:2 \n\t\t\n\t\t\n\t\t\t major tenth \n\t\t\t C\u2192E\u2191 \n\t\t\t 2:5 \n\t\t\t 1:2.5 \n\t\t\n\t\t\n\t\t\t major eleventh \n\t\t\t C\u2192F\u2191 \n\t\t\t 3:8 \n\t\t\t 1:2.667 \n\t\t\n\t\t\n\t\t\t major twelfth \n\t\t\t C\u2192G\u2191 \n\t\t\t 1:3 \n\t\t\t 1:3 \n\t\t\n\t\t\n\t\t\t double octave \n\t\t\t C\u2192C\u2191 \n\t\t\t 1:4 \n\t\t\t 1:4 \n\t\t\n\t\t\n\t\t\tName \n\t\t\tInterval in C \n\t\t\tRatio \n\t\t\tRatio (1:x) \n\t\t\n\n\nAnd now as percentages, of both the larger and smaller values in the ratios:\n\n\n\t\t\n\t\t\tName \n\t\t\tRatio \n\t\t\t% of larger value \n\t\t\t% of smaller value \n\t\t\n\t\t\n\t\t\t unison \n\t\t\t 1:1 \n\t\t\t 100% \n\t\t\t 100% \n\t\t\n\t\t\n\t\t\t minor second \n\t\t\t 15:16 \n\t\t\t 93.75% \n\t\t\t 106.667% \n\t\t\n\t\t\n\t\t\t major second \n\t\t\t 8:9 \n\t\t\t 88.889% \n\t\t\t 112.5% \n\t\t\n\t\t\n\t\t\t minor third \n\t\t\t 5:6 \n\t\t\t 83.333% \n\t\t\t 120% \n\t\t\n\t\t\n\t\t\t major third \n\t\t\t 4:5 \n\t\t\t 80% \n\t\t\t 125% \n\t\t\n\t\t\n\t\t\t perfect fourth \n\t\t\t 3:4 \n\t\t\t 75% \n\t\t\t 133.333% \n\t\t\n\t\t\n\t\t\t augmented fourth \nor diminished fifth \n\t\t\t 1:\u221a2 \n\t\t\t 70.711% \n\t\t\t 141.421% \n\t\t\n\t\t\n\t\t\t perfect fifth \n\t\t\t 2:3 \n\t\t\t 66.667% \n\t\t\t 150% \n\t\t\n\t\t\n\t\t\t minor sixth \n\t\t\t 5:8 \n\t\t\t 62.5% \n\t\t\t 160% \n\t\t\n\t\t\n\t\t\t major sixth \n\t\t\t 3:5 \n\t\t\t 60% \n\t\t\t 166.667% \n\t\t\n\t\t\n\t\t\t minor seventh \n\t\t\t 9:16 \n\t\t\t 56.25% \n\t\t\t 177.778% \n\t\t\n\t\t\n\t\t\t major seventh \n\t\t\t 8:15 \n\t\t\t 53.333% \n\t\t\t 187.5% \n\t\t\n\t\t\n\t\t\t octave \n\t\t\t 1:2 \n\t\t\t 50% \n\t\t\t 200% \n\t\t\n\t\t\n\t\t\t major tenth \n\t\t\t 2:5 \n\t\t\t 40% \n\t\t\t 250% \n\t\t\n\t\t\n\t\t\t major eleventh \n\t\t\t 3:8 \n\t\t\t 37.5% \n\t\t\t 266.667% \n\t\t\n\t\t\n\t\t\t major twelfth \n\t\t\t 1:3 \n\t\t\t 33.333% \n\t\t\t 300% \n\t\t\n\t\t\n\t\t\t double octave \n\t\t\t 1:4 \n\t\t\t 25% \n\t\t\t 400% \n\t\t\n\t\t\n\t\t\tName \n\t\t\tRatio \n\t\t\t% of larger value \n\t\t\t% of smaller value \n\t\t\n\n\nAs you can see, the simple musical intervals are expressed as ratios of small whole numbers (integers). We can then normalize them as ratios of one, as well as derive percentage values, both in terms of the smaller value to the larger, and vice versa. These are the numbers we can incorporate into our designs. If you\u2019ve ever written something like body { font: 100%/1.5 \"Museo Sans\", Helvetica, sans-serif; } in your CSS, you\u2019re already using a musical ratio: the perfect fifth.\n\nModular scales allow us to generate a set of numbers based on a musical interval that can be used for all kinds of typographic and layout decisions to create harmony in a visual design for the web. As Tim Brown said at the 2010 Build conference:\n\n\n\tI think that from that most atomic unit \u2013 type \u2013 whole experiences can resonate, whole experiences can be harmonious. And whole experiences can have a purpose suited to our design intentions.\n\n\nOnce more, with feeling: connectedness\n\nAs well as modular scales, there are other methods of incorporating musical interval ratios into our work. Setting the ratio of font size to line height in CSS is one such example. We could also create a typographic hierarchy using the same principle and combining several ratios that we know harmonize well musically in a chord:\n\nbody { font-size: 75%; } /* =12px = base size or tonic */\n\nh1 { font-size: 32px; font-size: 2.667rem; }\n   /* =32px = 3:8 = major eleventh (C\u2192F\u2191) */\n\nh2 { font-size: 24px; font-size: 2rem; }\n   /* =24px = 1:2 = octave (C\u2192C\u2191) */\n\nh3 { font-size: 20px; font-size: 1.667rem; }\n   /* =20px = 3:5 = major sixth (C\u2192A) */\n\nfigcaption, small { font-size: 9px; font-size : 0.75rem }\n   /* =9px = 3:4 = perfect fourth (C\u2192F) */\n\nWhoa! Hold your reindeer, Santa! How can we know what interval combinations work well together to form chords? Well, I\u2019m a classically trained musician, so perhaps I have an advantage. To avoid a long, technically complex digression into musical harmony, here are a few basic combinations of intervals that are harmonious in one way or another:\n\n\n\tunison; major third; perfect fifth; octave\n\tunison; perfect fourth; major sixth; octave\n\tunison; minor third; minor sixth; octave\n\tunison; minor third; diminished fifth; major sixth; octave\n\n\nThis isn\u2019t to say that other combinations can\u2019t be used to interesting effect and particular purpose \u2013 they surely can \u2013 but I have to make sure there\u2019s something left for you to experiment with in the wee small hours over the holiday. Bear in mind, though, were I to play you two notes from the same scale to form a minor second, for example, you\u2019d probably say it was dissonant and maybe that quality of the 15:16 ratio would be translated to the design.\n\n \n\nIn the typographic hierarchy above, you\u2019ll notice I used an interval in the higher octave, which affords a broader range of ratios while retaining the harmony. Thus, a perfect fifth (2:3) becomes a major twelfth (1:3), or a major sixth (3:5) becomes a major thirteenth (3:10).\n\nThe harmonic ratios can obviously be used as proportions for layout as well, in several different ways:\n\n\n\timage width and height (for example, 450\u00d7800px = 9:16 = minor seventh)\n\tmain content to page width (67%:100% = 2:3 = perfect fifth)\n\tpage width to viewport width (80%:100% = 4:5 = major third)\n\n\nOne great benefit of using such ratios in web design work is that they can be applied in responsive web design. Proportional values, based on percentages or equivalent em units, will scale with changing viewports, so your layout and image proportions can be maintained or deliberately changed, as we\u2019re about to find out, across devices.\n\nSmall speakers, tall speakers: binding to the device\n\nThe musical interval ratios also provide an opportunity, not only to create connectedness between the parts of a layout, but to bind the content to a device \u2013 that elusive antiphonal geometry. Just as a textblock and page resonate together, so too can web content and the screen. Earlier, I mentioned that several common screen aspect ratios match musical interval ratios. It would seem, then, that we have a set of proportions that we can use in different ways to establish and retain a sense of harmony that can be based on and change with those contexts. Using musical interval ratios, we can bind the display of our content to the device it\u2019s displayed on.\n\nIf you haven\u2019t met already, let me introduce you to the device-aspect-ratio property of CSS media queries.\n\n@media only screen and (device-aspect-ratio: 3/4) { }\n@media only screen and (device-aspect-ratio: 480/640) { }\n@media only screen and (device-aspect-ratio: 600/800) { }\n@media only screen and (device-aspect-ratio: 768/1024) { }\n\nRegardless of the precise pixel values, each of these media queries would apply to devices whose display area has an aspect ratio of 3:4. It works by comparing the device-width with the device-height. (It\u2019s not to be confused with aspect-ratio, which is defined by the width and height of the browser within the device.) The values in the media query are always presented as width/height, with portrait being the default orientation for smartphones and tablets; that is, to match an iPhone screen, you\u2019d use device-aspect-ratio: 2/3, not 3/2, which won\u2019t work.\n\nHere\u2019s a table of the musical intervals with their corresponding screens.\n\n\n\t\t\n\t\t\tName \n\t\t\tdevice-aspect-ratio \n\t\t\tScreens \n\t\t\tCommon resolutions (pixels) \n\t\t\n\t\t\n\t\t\t major third \n\t\t\t 5/4 \n\t\t\t TFT LCD computer screens \n\t\t\t 1,280\u00d71,024 \n\t\t\n\t\t\n\t\t\t perfect fourth \n\t\t\t 3/4 or 4/3 \n\t\t\t iPad, Kindle and other tablets, PDAs \n\t\t\t 320\u00d7240, 768\u00d71,024 \n\t\t\n\t\t\n\t\t\t perfect fifth \n\t\t\t 2/3 \n\t\t\t iPhone, iPod Touch \n\t\t\t 320\u00d7480, 640\u00d7960 \n\t\t\n\t\t\n\t\t\t minor sixth \n\t\t\t 8/5 (16/10) \n\t\t\t Many widescreens \n\t\t\t 1,152\u00d7720, 1,440\u00d7900, 1,920\u00d71,200 \n\t\t\n\t\t\n\t\t\t major sixth \n\t\t\t 3/5 \n\t\t\t Many smartphones \n\t\t\t 240\u00d7400, 480\u00d7800 \n\t\t\n\t\t\n\t\t\t minor seventh \n\t\t\t 16/9 or 9/16 \n\t\t\t Many widescreens and some smartphones \n\t\t\t 720\u00d71,280, 1,366\u00d7768, 1,920\u00d71,080, 2,560\u00d71,440 \n\t\t\n\n\n[You might argue that I\u2019m playing fast and loose with the ratios. I suppose, mathematically speaking, 9:16 is not the same as 16:9: I\u2019m no expert. But let\u2019s not throw the baby out with the bath water, particularly at Christmas.]\n\nWith this in mind, we can begin to write media queries that will influence various typographic and layout values in line with the aspect ratios of specific screens and in combination with em-based min-width queries that work from smaller, mobile screens to larger, desktop screens.\n\nHere\u2019s a very simple demo page with only some text, an image with a caption and a little basic layout: no seasonal overindulgence here.\n\nDemo: Sample page using device-aspect-ratio media queries based on musical interval ratios\n\nOur initial styles for all devices are based on the perfect fifth, with the major third and octave rounding things out into a harmonious whole, whether or not media queries are supported. For example:\n\nhtml { font-size: 100%; line-height: 1.5; }\n   /* font-size:line-height = 16:24 = 2:3 = perfect fifth */\n\nh1 { font-size: 32px; font-size: 2rem; line-height: 1.25; }\n   /* font-size:line-height = 32:40 = 4:5 = major third\n      body:h1 = 16:32 = 1:2 = octave */\n\nWhile we should really consider methods of delivering images appropriate to the screen size, let\u2019s just stick to a single image for all devices. But why don\u2019t we change its aspect ratio from 4:3 to 3:2, to fit with our harmonic scheme? It\u2019s easy enough to do with overflow:hidden on the <figure> element to hide a part of the image, and a negative margin fudge:\n\nfigure img { margin: -8.5% 0 0 0; width: 100%; max-width: 100%; }\n\nOur first break point targets devices 320 pixels wide with an aspect ratio of 2:3, namely the iPhone and iPod Touch:\n\n/* 320px = 20\u00d716 */\n@media only screen and (min-width: 20em) and (device-aspect-ratio: 2/3) { }\n\nWe\u2019re actually already there, of course, as the intervals we\u2019ve chosen resonate with this aspect ratio \u2013 the content is already bound to the device.\n\nOur next media query, then, will make some changes to match a different ratio, the major sixth (3:5), which is same as that of many smartphones:\n\n/* 480px = 30\u00d716 */\n@media only screen and (min-width: 30em) and (device-aspect-ratio: 3/5) { }\n\nA different aspect ratio might require a change in harmony. For devices with these proportions, we\u2019ll now use the perfect fourth (3:4) and the major sixth (3:5) along with the octave we already have to create a new resonating harmony. For instance, a slightly wider screen means we can increase the  line-height to aid the legibility of longer lines:\n\nhtml { line-height: 1.667; }\n   /* font-size:line-height = 16:26.672 = 3:5 = major sixth */\n\nh1 { font-size: 32px; font-size: 2rem; line-height: 1.667; }\n   /* font-size:line-height = 32:53.333 = 3:5 = major sixth\n      body:h1 = 16:32 = 1:2 = octave */\n\nand we can remove the negative margin to display our 4:3 image in its entirety.\n\nEach screen displays content styled using relationships related to its own proportions. On the left, an iPhone 4 (2:3); on the right, a Samsung Nexus S (3:5). Your mileage may vary.\n\nAnother device, another media query. At 768 pixels, screens are wide enough to add columns. The ratios we\u2019ve used for the 3:5 screens include the perfect fourth (3:4) so we don\u2019t need to change any of the font measurements, but we can base the proportions of the columns on the major sixth interval:\n\narticle { float: left; width: 56%; }\n   /* width of main column 3:5 (60% of 100%, major sixth)\n      incorporating gutter width */\n\naside { float : right; width : 36%; }\n\nOn devices with a 3:4 aspect ratio, this works even better in landscape orientation.\n\nWhile not every screen over 768 pixels wide will have 3:4 proportions, the range of intervals informing the design ensure harmonious relationships between the different parts of the layout.\n\nFor wide screens proper (break point at 1,280 pixels) we can employ a new set of harmonious intervals. Many laptop and desktop screens have a 16:10 aspect ratio, which boils down to 8:5, equivalent to the minor sixth (5:8). Combined with a minor third (5:6) and the octave (1:2), this creates a new harmony appropriate to these devices. Let\u2019s increase the font size and change the image\u2019s aspect ratio to match:\n\nhtml { font-size: 120%; line-height: 1.6; }\n   /* font-size increased for wider screens from 16px to 19.2px\n      (5:6 = minor third)\n      font-size:line-height = 19.2:30.72 = 5:8 = minor sixth */\n\nfigure img { margin: -12.5% 0 0 ; }\t\n   /* using -ve margin combined with overflow:hidden\n      on the figure element\n      to crop the image from 4:3 to 8:5 = minor sixth */\n\nA wide screen with a 8:5 (16:10) aspect ratio and an image to match.\n\nWith more pixels at our disposal, we can also now use the musical interval ratios to determine the width of the layout, and change the column proportions as well:\n\nsection { margin: 0 auto; width: 83.333%; }\n   /* content width:screen width = 5:6 = minor third */\n\narticle { width: 60%; }\n   /* width of main column 5:8 (62.5% of 100%, minor sixth)\n      incorporating gutter width */\n\naside { width: 35%; }\n\nWith some carefully targeted media queries, we can begin to reach towards fulfilling the second and third tenets of Boulton\u2019s new canon for web design: connecting the parts of content through relationships embodied in the layout design; and binding the content to the devices people use to access it.\n\nCoda\n\nMusical interval ratios and screen aspect ratios reveal more than convenient correspondence. These proportions work on a deep aesthetic level. Much is claimed for the golden ratio \u03c6, but none of the screens pervading our lives use it. Perhaps that\u2019s an accident of technology, but can making screens to \u03c6\u2019s proportions be more difficult or expensive than 2:3 or 3:4 or 16:10? Here, then, is not just one but a set of proportions with a uniquely human focus, originating in nature, recognized in antiquity, fundamental still.\n\nWe find music to be an art steeped with meaning, yet, unlike literary and representational arts, purely instrumental music has no obvious semantic content. It boasts an ability to express emotions while remaining an abstract art in some sense, which makes it very like design. These days, we\u2019re rightly encouraged to design for emotion, to make our users\u2019 experience meaningful, seductive, delightful. Using musical ideas and principles in our designs can help achieve those ends.\n\nLet\u2019s not be na\u00efve, of course; designing web pages is even less like composing music than it\u2019s like designing for print. In visual design, the eye will always be sovereign to the ear; following these principles will only get us so far. We cannot truly claim that a carefully composed web page layout will have the same qualities and effect as any musical patterns that inform it. In music, a set of intervals is always harmonious in relation to other sets of intervals: music rarely stands still. What aspect ratios will future screens take? Already today there is great variation in devices and support for media queries (and within that, support for device-aspect-ratio). And what of non-western musical traditions? Or rhythm, form, tempo and dynamics? What I\u2019ve demonstrated above is only a suggestion, a tentative exploration of one possible way forward.\n\nBut as our discipline matures and we become more articulate about what we do, we must look longer and deeper into areas of human endeavour already rich with value. Music is a fertile ground to explore and has the potential to yield up new approaches for web design.\n\nFootnotes\n\n \n Just intonation is a system of tuning that uses small integers to describe the musical intervals, based initially on the perfect fifth, that most consonant of intervals. Simple instruments such as vibrating strings and natural horns, as well as unaccompanied voices, tend to fall into just intonation naturally.", "year": "2011", "author": "Owen Gregory", "author_slug": "owengregory", "published": "2011-12-09T00:00:00+00:00", "url": "https://24ways.org/2011/composing-the-new-canon/", "topic": "design"}
{"rowid": 280, "title": "Conditional Loading for Responsive Designs", "contents": "On the eighteenth day of last year\u2019s 24 ways,  Paul Hammond  wrote a great article called Speed Up Your Site with Delayed Content. He outlined a technique for loading some content \u2014 like profile avatars \u2014 after the initial page load. This gives you a nice performance boost.\n\nThere\u2019s another situation where this kind of delayed loading could be really handy: mobile-first responsive design.\n\nResponsive design combines three techniques:\n\n\n\ta fluid grid\n\tflexible images\n\tmedia queries\n\n\nAt first, responsive design was applied to existing desktop-centric websites to allow the layout to adapt to smaller screen sizes. But more recently it has been combined with another innovative approach called mobile first.\n\nRather then starting with the big, bloated desktop site and then scaling down for smaller devices, it makes more sense to start with the constraints of the small screen and then scale up for larger viewports. Using this approach, your layout grid, your large images and your media queries are applied on top of the pre-existing small-screen design. It\u2019s taking progressive enhancement to the next level.\n\nOne of the great advantages of the mobile-first approach is that it forces you to really focus on the core content of your page. It might be more accurate to think of this as a content-first approach. You don\u2019t have the luxury of sidebars or multiple columns to fill up with content that\u2019s just nice to have rather than essential.\n\nBut what happens when you apply your media queries for larger viewports and you do have sidebars and multiple columns? Well, you can load in that nice-to-have content using the same kind of Ajax functionality that Paul described in his article last year. The difference is that you first run a quick test to see if the viewport is wide enough to accommodate the subsidiary content. This is conditional delayed loading.\n\nConsider this situation: I\u2019ve published an article about cats and I\u2019d like to include relevant cat-related news items in the sidebar \u2026but only if there\u2019s enough room on the screen for a sidebar.\n\nI\u2019m going to use Google\u2019s News API to return the search results. This is the ideal time to use delayed loading: I don\u2019t want a third-party service slowing down the rendering of my page so I\u2019m going to fire off the request after my document has loaded.\n\nHere\u2019s an example of the kind of Ajax function that I would write:\n\nvar searchNews = function(searchterm) {\n\tvar elem = document.createElement('script');\n\telem.src = 'http://ajax.googleapis.com/ajax/services/search/news?v=1.0&q='+searchterm+'&callback=displayNews';\n\tdocument.getElementsByTagName('head')[0].appendChild(elem);\n};\n\nI\u2019ve provided a callback function called displayNews that takes the JSON result of that Ajax request and adds it an element on the page with the ID newsresults:\n\nvar displayNews = function(news) {\n\tvar html = '',\n\titems = news.responseData.results,\n\ttotal = items.length;\n\tif (total>0) {\n\t\tfor (var i=0; i<total; i++) {\n\t\t\tvar item = items[i];\n\t\t\thtml+= '<article>';\n\t\t\thtml+= '<a href=\"'+item.unescapedUrl+'\">';\n\t\t\thtml+= '<h3>'+item.titleNoFormatting+'</h3>';\n\t\t\thtml+= '</a>';\n\t\t\thtml+= '<p>';\n\t\t\thtml+= item.content;\n\t\t\thtml+= '</p>';\n\t\t\thtml+= '</article>';\n\t\t}\n\t\tdocument.getElementById('newsresults').innerHTML = html;\n\t}\n};\n\nNow, I can call that function at the bottom of my document:\n\n<script>\n    searchNews('cats');\n</script>\n\nIf I only want to run that search when there\u2019s room for a sidebar, I can wrap it in an if statement:\n\n<script>\nif (document.documentElement.clientWidth > 640) {\n    searchNews('cats');\n}\n</script>\n\nIf the browser is wider than 640 pixels, that will fire off a search for news stories about cats and put the results into the newsresults element in my markup:\n\n<div id=\"newsresults\">\n    <!-- search results go here -->\n</div>\n\nThis works pretty well but I\u2019m making an assumption that people with small-screen devices wouldn\u2019t be interested in seeing that nice-to-have content. You know what they say about assumptions: they make an ass out of you and umptions. I should really try to give everyone at least the option to get to that extra content:\n\n<div id=\"newsresults\">\n    <a href=\"http://www.google.com/search?q=cats&tbm=nws\">Search Google News</a>\n</div>\n\nSee the result\n\nVisitors with small-screen devices will see that link to the search results; visitors with larger screens will get the search results directly.\n\nI\u2019ve been concentrating on HTML and JavaScript, but this technique has consequences for content strategy and information architecture. Instead of thinking about possible page content in a binary way as either \u2018on the page\u2019 or \u2018not on the page\u2019, conditional loading introduces a third \u2018it\u2019s complicated\u2019 option.\n\nThis was just a simple example but I hope it illustrates that conditional loading could become an important part of the content-first responsive design approach.", "year": "2011", "author": "Jeremy Keith", "author_slug": "jeremykeith", "published": "2011-12-02T00:00:00+00:00", "url": "https://24ways.org/2011/conditional-loading-for-responsive-designs/", "topic": "ux"}
{"rowid": 275, "title": "Context First: Web Strategy in Four Handy Ws", "contents": "Many, many years ago, before web design became my proper job, I trained and worked as a journalist. I studied publishing in London and spent three fun years learning how to take a few little nuggets of information and turn them into a story. I learned a bunch of stuff that has all been a huge help to my design career. Flatplanning, layout, typographic theory. All of these disciplines have since translated really well to web design, but without doubt the most useful thing I learned was how to ask difficult questions.\n\nPretty much from day one of journalism school they hammer into you the importance of the Five Ws. Five disarmingly simple lines of enquiry that eloquently manage to provide the meat of any decent story. And with alliteration thrown in too. For a young journo, it\u2019s almost too good to be true.\n\nWho? What? Where? When? Why? It seems so obvious to almost be trite but, fundamentally, any story that manages to answer those questions for the reader is doing a pretty good job. You\u2019ll probably have noticed feeling underwhelmed by certain news pieces in the past \u2013 disappointed, like something was missing. Some irritating oversight that really lets the story down. No doubt it was one of the Ws \u2013 those innocuous little suckers are generally only noticeable by their absence, but they sure get missed when they\u2019re not there. \n\nQuestion everything\n\nI\u2019ve always been curious. An inveterate tinkerer with things and asker of dopey questions, often to the point of abject annoyance for anyone unfortunate enough to have ended up in my line of fire. So, naturally, the Five Ws started drifting into other areas of my life. I\u2019d scrutinize everything, trying to justify or explain my rationale using these Ws, but I\u2019d also find myself ripping apart the stuff that clearly couldn\u2019t justify itself against the same criteria.\n\nSo when I started working as a designer I applied the same logic and, sure enough, the Ws pretty much mapped to the exact same needs we had for gathering requirements at the start of a project. It seemed so obvious, such a simple way to establish the purpose of a product. What was it for? Why we were making it? And, of course, who were we making it for? It forced clients to stop and think, when really what they wanted was to get going and see something shiny. Sometimes that was a tricky conversation to have, but it\u2019s no coincidence that those who got it also understood the value of strategy and went on to have good solid products, while those that didn\u2019t often ended up with arrogantly insular and very shiny but ultimately unsatisfying and expendable products. Empty vessels make the most noise and all that\u2026\n\nContent first\n\nI was both surprised and pleased when the whole content first idea started to rear its head a couple of years back. Pleased, because without doubt it\u2019s absolutely the right way to work. And surprised, because personally it\u2019s always been the way I\u2019ve done it \u2013 I wasn\u2019t aware there was even an alternative way. Content in some form or another is the whole reason we were making the things we were making. I can\u2019t even imagine how you\u2019d start figuring out what a site needs to do, how it should be structured, or how it should look without a really good idea of what that content might be. It baffles me still that this was somehow news to a lot of people. What on earth were they doing? Design without purpose is just folly, surely?\n\nIt\u2019s great to see the idea gaining momentum but, having watched it unfold, it occurred to me recently that although it\u2019s fantastic to see a tangible shift in thinking \u2013 away from those bleak times, where making things up was somehow deemed an appropriate way to do things \u2013 there\u2019s now a new bad guy in town.\n\nWith any buzzword solution of the moment, there\u2019s always a catch, and it seems like some have taken the content first approach a little too literally. By which I mean, it\u2019s literally the first thing they do. The project starts, there\u2019s a very cursory nod towards gathering requirements, and off they go, cranking content. Writing copy, making video, commissioning illustrations.\n\nAll that\u2019s happened is that the \u2018making stuff up\u2019 part has shifted along the line, away from layout and UI, back to the content. \n\nStarting is too easy\n\nI can\u2019t remember where I first heard that phrase, but it\u2019s a great sentiment which applies to so much of what we do on the web. The medium is so accessible and to an extent disposable; throwing things together quickly carries far less burden than in any other industry. We\u2019re used to tweaking as we go, changing bits, iterating things into shape. The ubiquitous beta tag has become the ultimate caveat, and has made the unfinished and unpolished acceptable. Of course, that can work brilliantly in some circumstances. Occasionally, a product offers such a paradigm shift it\u2019s beyond the level of deep planning and prelaunch finessing we\u2019d ideally like. But, in the main, for most client sites we work on, there really is no excuse not to do things properly. To ask the tricky questions, to challenge preconceptions and really understand the Ws behind the products we\u2019re making before we even start. \n\nThe four Ws\n\nFor product definition, only four of the five Ws really apply, although there\u2019s a lot of discussion around the idea of when being an influencing factor. For example, the context of a user\u2019s engagement with your product is something you can make a call on depending on the specifics of the project.\n\nSo, here\u2019s my take on the four essential Ws. I\u2019ll point out here that, of course, these are not intended to be autocratic dictums. Your needs may differ, your clients\u2019 needs may differ, but these four starting points will get you pretty close to where you need to be.\n\nWho \n\nIt\u2019s surprising just how many projects start without a real understanding of the intended audience. Many clients think they have an idea, but without really knowing \u2013 it\u2019s presumptive at best, and we all know what presumption is the mother of, right? Of course, we can\u2019t know our audiences in the same way a small shop owner might know their customers. But we can at least strive to find out what type of people are likely to be using the product. I\u2019m not talking about deep user research. That should come later.\n\nThese are the absolute basics. What\u2019s the context for their visit? How informed are they? What\u2019s their level of comprehension? Are they able to self-identify and relate to categories you have created? I could go on, and it changes on a per-project basis. You\u2019ll only find this out by speaking to them, if not in person, then indirectly through surveys, questionnaires or polls. The mechanism is less important than actually reaching out and engaging with them, because without that understanding it\u2019s impossible to start to design with any empathy.\n\nWhat\n\nOnce you become deeply involved directly with a product or service, it\u2019s notoriously difficult to see things as an outsider would. You learn the thing inside and out, you develop shortcuts and internal phraseology. Colloquialisms creep in. You become too close. So it\u2019s no surprise when clients sometimes struggle to explain what it is their product actually does in a way that others can understand.\n\nOften products are complex but, really, the core reasons behind someone wanting to use that product are very simple. There\u2019s a value proposition for the customer and, if they choose to engage with it, there\u2019s a value exchange. If that proposition or exchange isn\u2019t transparent, then people become confused and will likely go elsewhere. Make sure both your client and you really understand what that proposition is and, in turn, what the expected exchange should be. In a nutshell: what is the intended outcome of that engagement? Often the best way to do this is strip everything back to nothing. Verbosity is rife on the web. Just because it\u2019s easy to create content, that shouldn\u2019t be a reason to do so. Figure out what the value proposition is and then reintroduce content elements that genuinely help explain or present that to a level that is appropriate for the audience. \n\nWhy \n\nIn advertising, they talk about the truths behind a product or service. Truths can be both tangible or abstract, but the most important part is the resonance those truths hit with a customer. In a digital product or service those truths are often exposed as benefits. Why is this what I need? Why will it work for me? Why should I trust you? The why is one of the more fluffy Ws, yet it\u2019s such an important one to nail. Clients can get prickly when you ask them to justify the why behind their product, but it\u2019s a fantastic way to make sure the value proposition is clear, realistic and meets with the expectations of both client and customer.\n\nIt\u2019s our job as designers to question things: we\u2019re not just a pair of hands for clients. Just recently I spoke to a potential client about a site for his business. I asked him why people would use his product and also why his product seemed so fractured in its direction. He couldnt answer that question so, instead of ploughing on regardless, he went back to his directors and is now re-evaluating that business. It was awkward but he thanked me and hopefully he\u2019ll have a better product as a result.\n\nWhere\n\nIn this instance, where is not so much a geographical thing, although in some cases that level of context may indeed become a influencing factor\u2026 The where we\u2019re talking about here is the position of the product in relation to others around it. By looking at competitors or similar services around the one you are designing, you can start to get a sense for many of the things that are otherwise hard to pin down or have yet to be defined. For example, in a collection of sites all selling cars, where does yours fit most closely? Where are the overlaps? How are they communicating to their customers? How is the product range presented or categorized?\n\nIt\u2019s good to look around and see how others are doing it. Not in a quest for homogeneity but more to reference or to avoid certain patterns that may or may not make sense for your own particular product. Clients often strive to be different for the sake of it. They feel they need to provide distinction by going against the flow a bit. We know different. We know users love convention. They embrace familiar mental models. They\u2019re comfortable with things that they\u2019ve experienced elsewhere. By showing your client that position is a vital part of their strategy, you can help shape their product into something great. \n\nTo conclude\n\nSo there we have it \u2013 the four Ws. Each part tells a different and vital part of the story you need to be able to make a really good product. It might sound like a lot of work, particularly when the client is breathing down your neck expecting to see things, but without those pieces in place, the story you\u2019re building your product on, and the content that you\u2019re creating to form that product can only ever fit into one genre. Fiction.", "year": "2011", "author": "Alex Morris", "author_slug": "alexmorris", "published": "2011-12-10T00:00:00+00:00", "url": "https://24ways.org/2011/context-first/", "topic": "content"}
{"rowid": 272, "title": "Crafting the Front-end", "contents": "Much has been spoken and written recently about the virtues of craftsmanship in the context of web design and development. It seems that we as fabricators of the web are finally tiring of seeking out parallels between ourselves and architects, and are turning instead to the fabled specialist artisans.\n\nIdentifying oneself as a craftsman or craftswoman (let\u2019s just say craftsperson from here onward) will likely be a trend of early 2012. In this pre-emptive strike, I\u2019d like to expound on this movement as I feel it pertains to front-end development, and encourage care and understanding of the true qualities of craftsmanship (craftspersonship).\n\nThe core values\n\nI\u2019ll begin by defining craftspersonship. What distinguishes a craftsperson from a technician? Dictionaries tend to define a craftsperson as one who possesses great skill in a chosen field. The badge of a craftsperson for me, though, is a very special label that should be revered and used sparingly, only where it is truly deserved. A genuine craftsperson encompasses a few other key traits, far beyond raw skill, each of which must be learned and mastered.\n\nA craftsperson has: \n\n\n\tAn appreciation of good work, in both the work of others and their own. And not just good as in \u2018hey, that\u2019s pretty neat\u2019, I mean a goodness like a shining purity \u2013 the kind of good that feels right when you see it.\n\tA belief in quality at every level: every facet of the craftsperson\u2019s product is as crucial as any other, without exception, even those normally hidden from view.\n\tVision: an ability to visualize their path ahead, pre-empting the obstacles that may be encountered to plan a route around them.\n\tA preference for simplicity: an almost Bauhausesque devotion to undecorated functionality, with no unjustifiable parts included.\n\tSincerity: producing work that speaks directly to its purpose with flawless clarity.\n\n\nOnly when you become a custodian of such values in your work can you consider calling yourself a craftsperson. Now let\u2019s take a look at some steps we front-end developers can take on our journey of enlightenment toward craftspersonhood.\n\n Speaking of the craftsman\u2019s journey, be sure to watch out for the video of The Standardistas\u2019 stellar talk at the Build 2011 conference titled The Journey, which should be online sometime soon.\n\nBuilding your own toolbox\n\nMy grandfather was a carpenter and trained as a young apprentice under a master. After observing and practising the many foundation theories, principles and techniques of carpentry, he was tasked with creating his own set of woodworking tools, which he would use and maintain throughout his career. By going through the process of having to create his own tools, he would be connected at the most direct level with every piece of wood he touched, his tools being his own creations and extensions of his own skilled hands. The depth of his knowledge of these tools must have surpassed the intricate as he fathered, used, cleaned and repaired them, day in and day out over many years.\n\nAnd so it should be, ideally, with all crafts. We must understand our tools right down to the most fundamental level. I firmly believe that a level of true craftsmanship cannot be reached while there exists a layer that remains not wholly understood between a creator and his canvas. Of course, our tools as front-end developers are somewhat more complex than those of other crafts \u2013 it may seem reasonable to require that a carpenter create his or her own set of chisels, but somewhat less so to ask a front-end developer to code their own CSS preprocessor, or design their own computer.\n\nHowever, it is still vitally important that you understand how your tools work. This is particularly critical when it comes to things like preprocessors, libraries and frameworks which aim to save you time by automating common processes and functions. For the most part, anything that saves you time is a Good Thing\u2122 but it cannot be stressed enough that using tools like these in earnest should be avoided until you understand exactly what they are doing for you (and, to an extent, how they are doing it). \n\nIn particular, you must understand any drawbacks to using your tools, and any shortcuts they may be taking on your behalf. I\u2019m not suggesting that you steer clear of paid work until you\u2019ve studied each of jQuery\u2019s 9,266 lines of JavaScript source code but, all levity aside, it will further you on your journey to look at interesting or relevant bits of jQuery, and any other libraries you might want to use. Such libraries often directly link to corresponding sections of their source code on sites like GitHub from their official documentation. Better yet, they\u2019re almost always written in high level languages (easy to read), so there\u2019s no excuse not to don your pith helmet and go on something of an exploration. Any kind of tangential learning like this will drive you further toward becoming a true craftsperson, so keep an open mind and always be ready to step out of your comfort zone.\n\nDowntime and tool honing\n\nWith any craft, it is essential to keep your tools in good condition, and a good idea to stay up-to-date with the latest equipment. This is especially true on the web, which, as we like to tell anyone who is still awake more than a minute after asking what it is that we do, advances at a phenomenal pace. A tool or technique that could be considered best practice this week might be the subject of haughty derision in a comment thread within six months.\n\nI have little doubt that you already spend a chunk of time each day keeping up with the latest material from our industry\u2019s finest Interblogs and Twittertubes, but do you honestly put aside time to collect bookmarks and code snippets from things you read into a slowly evolving toolbox? At @media in 2009, Simon Collison delivered a candid talk on his \u2018Ultimate Package\u2019. Those of us who didn\u2019t flee the room anticipating a newfound and unwelcome intimacy with the contents of his trousers were shown how he maintained his own toolkit \u2013 a collection of files and folders all set up and ready to go for a new project. By maintaining a toolkit in this way, he has consistency across projects and a dependable base upon which to learn and improve.\n\nThe assembly and maintenance of such a personalized and familiar toolkit is probably as close as we will get to emulating the tool making stage of more traditional craft trades. Keep a master copy of your toolkit somewhere safe, making copies of it for new projects. When you learn of a way in which part of it can be improved, make changes to the master copy.\n\nSimplicity through modularity\n\nI believe that the user interfaces of all web applications should be thought of as being made up primarily of modular components. Modules in this context are patterns in design that appear repeatedly throughout the app. These can be small collections of elements, like a user profile summary box (profile picture, username, meta data), as well as atomic elements such as headings and list items.\n\nWell-crafted front-end architectures have the ability to support this kind of repeating pattern as modules, with as close to no repetition of CSS (or JavaScript) as possible, and as close to no variations in HTML between instances as possible.\n\nOne of the most fundamental and well known tenets of software engineering is the DRY rule \u2013 don\u2019t repeat yourself. It requires that \u201cevery piece of knowledge must have a single, unambiguous, authoritative representation within a system.\u201d \n\nAs craftspeople, we must hold this rule dear and apply it to the modules we have identified in our site designs. The moment you commit a second style definition for a module, the quality of your output (the front-end code) takes a huge hit. There should only ever be one base style definition for each distinct module or component. Keep these in a separate, sacred place in your CSS. I use a _modules.scss Sass include file, imported near the top of my main CSS files.\n\nBe sure, of course, to avoid making changes to this file lightly, as the smallest adjustment can affect multiple pages (hint: keep a structure list of which modules are used on which pages). Avoid the inevitable temptation to duplicate code late in the project. Sticking to this rule becomes more important the more complex the codebase becomes.\n\nIf you can stick to this rule, using sensible class names and consistent HTML, you can reach a joyous, self-fulfilling plateau stage in each project where you are assembling each interface from your own set of carefully crafted building blocks.\n\nOld school markup\n\nLet\u2019s take a step back. Before we fret about creating a divinely pure modular CSS framework, we need to know the site\u2019s design and what it is made of. The best way to gain this knowledge is to go old school. Print out every comp, mockup, wireframe, sketch or whatever you have. If there are sections of pages that are hidden until some user action takes place, or if the page has multiple states, be sure that you have everything that could become visible to the user on paper.\n\nOnce you have your wedge of paper designs, lay out all the pages on the floor, or stick them to the wall if you can, arranging them logically according to the site hierarchy, by user journey, or whatever guidelines make most sense to you. Once you have the site laid out before you, study it for a while, familiarizing yourself with every part of every interface. This will eliminate nasty surprises late in the project when you realize you\u2019ve duplicated something, or left an interface on the drawing board altogether.\n\nNow that you know the site like it\u2019s your best friend, get out your pens or pencils of choice and attack it. Mark it up like there\u2019s no tomorrow. Pretend you\u2019re a spy trying to identify communications from an enemy network hiding their messages in newspapers. Look for patterns and similarities, drawing circles around them. These are your modules. Start also highlighting the differences between each instance of these modules, working out which is the most basic or common type that will become the base definition from which all other representations are extended.\n\nThis simple but empowering exercise will equip you for your task of actually crafting, instead of just building, the front-end. Without the knowledge gained from this kind of research phase, you will be blundering forward, improvising as best you can, but ultimately making quality-compromising mistakes that could have been avoided.\n\nFor more on this theme, read Anna Debenham\u2019s Front-end Style Guides which recommends a similar process, and the sublime idea of extending this into a guide to refer to during development and beyond.\n\nDesign homogeneity\n\nMoving forward again, you now have your modules defined and things are looking good. I mentioned that many instances of these modules will carry minor differences. These differences must be given significant thinking time, and discussion time with your designer(s).\n\nIt should be common knowledge by now that successful software projects are not the product of distinct design and build phases with little or no bidirectional feedback. The crucial nature of the designer-developer relationship has been covered in depth this year by Paul Robert Lloyd, and a joint effort from both teams throughout the project lifecycle is pivotal to your ability to craft and ship successful products.\n\nThis relationship comes into play when you\u2019re well into the development of the site, and you start noticing these differences between instances of modules (they\u2019ll start to stand out very clearly to you and your carefully regimented modular CSS system). Before you start overriding your base styles, question the differences with the designer to work out why they exist. Perhaps they are required and are important to their context, but perhaps they were oversights from earlier design revisions, or simple mistakes.\n\nThe craftsperson\u2019s gland\n\nAs you grow towards the levels of expertise and experience where you can proudly and honestly consider yourself a craftsperson, you will find that you steadily develop what initially feels like a kind of sixth sense. I think of it more as a new hormonal gland, secreting into your bloodstream a powerful messenger chemical that can either reward or punish your brain. This gland is connected directly to your core understanding of what good quality work looks and feels like, an understanding that itself improves with experience. \n\nThis gland will make itself known to you in two ways. First, when you solve a problem in a beautifully elegant way with clean and unobtrusive code that looks good and just feels right, your craftsperson\u2019s gland will ooze something delicious that makes your brain and soul glow from the inside out. You will beam triumphantly at the succinct lines of code on your computer display before bounding outside with a spring in your step to swim up glittering rainbows and kiss soft fluffy puppies.\n\nThe second way that you may become aware of your craftsperson\u2019s gland, though, is somewhat less pleasurable. In an alternate reality, your parallel self is faced with the same problem, but decides to take a shortcut and get around it by some dubious means \u2013 the kind of technical method that the words hack, kludge and bodge are reserved for. As soon as you have done this, or even as you are doing it, your craftsperson\u2019s gland will damn well let you know that you took the wrong fork in the road. As your craftsperson\u2019s gland begins to secrete a toxic pus, you will at first become entranced into a vacant stare at the monstrous mess you are considering unleashing upon your site\u2019s visitors, before writhing in the horrible agony of an itch that can never be scratched, and a feeling of being coated with the devil\u2019s own deep and penetrating filth that no shower will ever cleanse.\n\nPerhaps I exaggerate slightly, but it is no overstatement to suggest that you will find yourself being guided by proverbial angels and demons perched on opposite shoulders, or a whispering voice inside your head. If you harness this sense, sharpening it as if it were another tool in your kit and letting it guide or at least advise your decision making, you will transcend the rocky realm of random trial and error when faced with problems, and tend toward the right answers instinctively.\n\nThis gland can also empower your ability to assess your own work, becoming a judge before whom all your work is cross-examined. A good craftsperson regularly takes a step back from their work, and questions every facet of their product for its precise alignment with their core values of quality and sincerity, and even the very necessity of each component.\n\nThe wrapping\n\nBy now, you may be thinking that I take this kind of thing far too seriously, but to terrify you further, I haven\u2019t even shared the half of it. Hopefully, though, this gives you an idea of the kind of levels of professionalism and dedication that it should take to get you on your way to becoming a craftsperson. It\u2019s a level of accomplishment and ability toward which we all should strive, both for our personal fulfilment and the betterment of the products we use daily. I look forward to seeing your finely crafted work throughout 2012.", "year": "2011", "author": "Ben Bodien", "author_slug": "benbodien", "published": "2011-12-24T00:00:00+00:00", "url": "https://24ways.org/2011/crafting-the-front-end/", "topic": "process"}
{"rowid": 271, "title": "Creating Custom Font Stacks with Unicode-Range", "contents": "Any web designer or front-end developer worth their salt will be familiar with the CSS @font-face rule used for embedding fonts in a web page. We\u2019ve all used it \u2014 either directly in our code ourselves, or via one of the web font services like Fontdeck, Typekit or Google Fonts.\n\nIf you\u2019re like me, however, you\u2019ll be used to just copying and pasting in a specific incantation of lines designed to get different formats of fonts working in different browsers, and may not have really explored all the capabilities of @font-face properties as defined by the spec.\n\nOne such property \u2014 the unicode-range descriptor \u2014 sounds pretty dull and is easily overlooked. It does, however, have some fairly interesting possibilities when put to use in creative ways.\n\nUnicode-range\n\nThe unicode-range descriptor is designed to help when using fonts that don\u2019t have full coverage of the characters used in a page. By adding a unicode-range property to a @font-face rule it is possible to specify the range of characters the font covers. \n\n@font-face {\n    font-family: BBCBengali;\n    src: url(fonts/BBCBengali.ttf) format(\"opentype\");\n    unicode-range: U+00-FF;\n}\n\nIn this example, the font is to be used for characters in the range of U+00 to U+FF which runs from the unexciting control characters at the start of the Unicode table (symbols like the exclamation mark start at U+21) right through to \u00ff at U+FF \u2013 the extent of the Basic Latin character range.\n\nBy adding multiple @font-face rules for the same family but with different ranges, you can build up complete coverage of the characters your page uses by using different fonts.\n\nWhen I say that it\u2019s possible to specify the range of characters the font covers, that\u2019s true, but what you\u2019re really doing with the unicode-range property is declaring which characters the font should be used for. This becomes interesting, because instead of merely working with the technical constraints of available characters in a given font, we can start picking and choosing characters to use and selectively mix fonts together.\n\nThe best available ampersand\n\nA few years back, Dan Cederholm wrote a post encouraging designers to use the best available ampersand. Dan went on to outline how this can be achieved by wrapping our ampersands in a <span> element with a class applied:\n\n<span class=\"amp\">&</span>\n\nA CSS rule can then be written to select the <span> and apply a different font:\n\nspan.amp {\n    font-family: Baskerville, Palatino, \"Book Antiqua\", serif;\n}\n\nThat\u2019s a perfectly serviceable technique, but the drawbacks are clear \u2014 you have to add extra markup which is borderline presentational, and you also have to be able to add that markup, which isn\u2019t always possible when working with a CMS.\n\nPerhaps we could do this with unicode-range.\n\nA better best available ampersand\n\nThe Unicode code point for an ampersand is U+26, so the ampersand font stack above can be created like so:\n\n@font-face {\n    font-family: 'Ampersand';\n    src: local('Baskerville'), local('Palatino'), local('Book Antiqua');\n    unicode-range: U+26;\n}\n\nWhat we\u2019ve done here is specify a new family called Ampersand and created a font stack for it with the user\u2019s locally installed copies of Baskerville, Palatino or Book Antiqua. We\u2019ve then limited it to a single character range \u2014 the ampersand. Of course, those don\u2019t need to be local fonts \u2014 they could be web font files, too. If you have a font with a really snazzy ampersand, go for your life.\n\nWe can then use that new family in a regular font stack.\n\nh1 {\n    font-family: Ampersand, Arial, sans-serif;\n}\n\nWith this in place, any <h1> elements in our page will use the Ampersand family (Baskerville, Palatino or Book Antiqua) for ampersands, and Arial for all other characters. If the user doesn\u2019t have any of the Ampersand family fonts available, the ampersand will fall back to the next item in the font stack, Arial.\n\nYou didn\u2019t think it was that easy, did you?\n\nOh, if only it were so. The problem comes, as ever, with the issue of browser support. The unicode-range property has good support in WebKit browsers (like Safari and Chrome, and the browsers on most popular smartphone platforms) and in recent versions of Internet Explorer. The big stumbling block comes in the form of Firefox, which has no support at all.\n\nIf you\u2019re familiar with how CSS works when it comes to unsupported properties, you\u2019ll know that if a browser encounters a property it doesn\u2019t implement, it just skips that declaration and moves on to the next. That works perfectly for things like border-radius \u2014 if the browser can\u2019t round off the corners, the declaration is skipped and the user sees square corners instead. Perfect.\n\nLess perfect when it comes to unicode-range, because if no range is specified then the default is that the font is applied for all characters \u2014 the whole range. If you\u2019re using a fancy font for flamboyant ampersands, you probably don\u2019t want that applied to all your text if unicode-range isn\u2019t supported. That would be bad. Really bad.\n\nEnsuring good fallbacks\n\nAs ever, the trick is to make sure that there\u2019s a sensible fallback in place if a browser doesn\u2019t have support for whatever technology you\u2019re trying to use. This is where being a super nerd about understanding the spec you\u2019re working with really pays off.\n\nWe can make use of the rules of the CSS cascade to make sure that if unicode-range isn\u2019t supported we get a sensible fallback font. What would be ideal is if we were able to follow up the @font-face rule with a second rule to override it if Unicode ranges aren\u2019t implemented.\n\n@font-face {\n    font-family: 'Ampersand';\n    src: local('Baskerville'), local('Palatino'), local('Book Antiqua');\n    unicode-range: U+26;\n}\n@font-face {\n    font-family: 'Ampersand';\n    src: local('Arial');\n}\n\nIn theory, this code should make sense for all browsers. For those that support unicode-range the two rules become cumulative. They specify different ranges for the same family, and in WebKit browsers this has the expected result of using Arial for most characters, but Baskerville and friends for the ampersand. For browsers that don\u2019t have support, the second rule should just supersede the first, setting the font to Arial. \n\nUnfortunately, this code causes current versions of Firefox to freak out and use the first rule, applying Baskerville to the entire range. That\u2019s both unexpected and unfortunate. Bad Firefox. On your rug.\n\nIf that doesn\u2019t work, what can we do? Well, we know that if given a unicode-range Firefox will ignore the range and apply the font to all characters. That\u2019s really what we\u2019re trying to achieve. So what if we specified a range for the fallback font, but made sure it only covers some obscure high-value Unicode character we\u2019re never going to use in our page? Then it wouldn\u2019t affect the outcome for browsers that do support ranges.\n\n@font-face {\n    font-family: 'Ampersand';\n    src: local('Baskerville'), local('Palatino'), local('Book Antiqua');\n    unicode-range: U+26;\n}\n@font-face {\n    /* Ampersand fallback font */\n    font-family: 'Ampersand';\n    src: local('Arial');\n    unicode-range: U+270C;\n}\n\nBy specifying a range on the fallback font, Firefox appears to correctly override the first based on the cascade sort order. Browsers that do support ranges take the second rule in addition, and apply Arial for that obscure character we\u2019re not using in any of our pages \u2014 U+270C.\n\nSo we get our nice ampersands in browsers that support unicode-range and, thanks to our styling of an obscure Unicode character, the font falls back to a perfectly acceptable Arial in browsers that do not offer support. Perfect!\n\nThat obscure character, my friends, is what Unicode defines as the VICTORY HAND.\n\n\u270c\n\nSo, how can we use this?\n\nAmpersands are a neat trick, and it works well in browsers that support ranges, but that\u2019s not really the point of all this. Styling ampersands is fun, but they\u2019re only really scratching the surface. Consider more involved examples, such as substituting a different font for numerals, or symbols, or even caps. Things certainly begin to get a bit more interesting.\n\nHow do you know what the codes are for different characters? Richard Ishida has a handy online conversion tool available where you can type in the characters and get the Unicode code points out the other end.\n\nOf course, the fact remains that browser support for unicode-range is currently limited, so any application needs to have fallbacks that you\u2019re still happy for a significant proportion of your visitors to see. In some cases, such as dedicated pages for mobile devices in an HTML-based phone app, this is immediately useful as support in WebKit browsers is already very good. In other cases, you\u2019ll have to use your own best judgement based on your needs and audience.\n\nOne thing to keep in mind is that if you\u2019re using web fonts, the entire font will be downloaded even if only one character is used. That said, the font shouldn\u2019t be downloaded if none of the characters within the Unicode range are present in a given page.\n\nAs ever, there are pros and cons to using unicode-range as well as varied but increasing support in browsers. It remains a useful tool to understand and have in your toolkit for when the right moment comes along.", "year": "2011", "author": "Drew McLellan", "author_slug": "drewmclellan", "published": "2011-12-01T00:00:00+00:00", "url": "https://24ways.org/2011/creating-custom-font-stacks-with-unicode-range/", "topic": "code"}
{"rowid": 283, "title": "CSS3 Patterns, Explained", "contents": "Many of you have probably seen my CSS3 patterns gallery. It became very popular throughout the year and it showed many web developers how powerful CSS3 gradients really are. But how many really understand how these patterns are created? The biggest benefit of CSS-generated backgrounds is that they can be modified directly within the style sheet. This benefit is void if we are just copying and pasting CSS code we don\u2019t understand. We may as well use a data URI instead.\n\nImportant note\n\nIn all the examples that follow, I\u2019ll be using gradients without a vendor prefix, for readability and brevity. However, you should keep in mind that in reality you need to use all the vendor prefixes (-moz-, -ms-, -o-, -webkit-) as no browser currently implements them without a prefix. Alternatively, you could use -prefix-free and have the current vendor prefix prepended at runtime, only when needed.\n\nThe syntax described here is the one that browsers currently implement. The specification has since changed, but no browser implements the changes yet. If you are interested in what is coming, I suggest you take a look at the dev version of the spec.\n\nIf you are not yet familiar with CSS gradients, you can read these excellent tutorials by John Allsopp and return here later, as in the rest of the article I assume you already know the CSS gradient basics:\n\n\n\tCSS3 Linear Gradients\n\tCSS3 Radial Gradients\n\n\nThe main idea\n\nI\u2019m sure most of you can imagine the background this code generates:\n\nbackground: linear-gradient(left, white 20%, #8b0 80%);\n\nIt\u2019s a simple gradient from one color to another that looks like this:\n\n See this example live\n\nAs you probably know, in this case the first 20% of the container\u2019s width is solid white and the last 20% is solid green. The other 60% is a smooth gradient between these colors. Let\u2019s try moving these color stops closer to each other:\n\nbackground: linear-gradient(left, white 30%, #8b0 70%);\n\n See this example live\n\nbackground: linear-gradient(left, white 40%, #8b0 60%);\n\n See this example live\n\nbackground: linear-gradient(left, white 50%, #8b0 50%);\n\n See this example live\n\nNotice how the gradient keeps shrinking and the solid color areas expanding, until there is no gradient any more in the last example. We can even adjust the position of these two color stops to control where each color abruptly changes into another:\n\nbackground: linear-gradient(left, white 30%, #8b0 30%);\n\n See this example live\n\nbackground: linear-gradient(left, white 90%, #8b0 90%);\n\n See this example live\n\nWhat you need to take away from these examples is that when two color stops are at the same position, there is no gradient, only solid colors. Even without going any further, this trick is useful for a number of different use cases like faux columns or the effect I wanted to achieve in my homepage or the -prefix-free page where the background is only shown on one side and hidden on the other:\n\n\n\nCombining with background-size\n\nWe can do wonders, however, if we combine this with the CSS3 background-size property:\n\nbackground: linear-gradient(left, white 50%, #8b0 50%);\nbackground-size: 100px 100px;\n\n See this example live\n\nAnd there it is. We just created the simplest of patterns: (vertical) stripes. We can remove the first parameter (left) or replace it with top and we\u2019ll get horizontal stripes. However, let\u2019s face it: Horizontal and vertical stripes are kinda boring. Most stripey backgrounds we see on the web are diagonal. So, let\u2019s try doing that.\n\nOur first attempt would be to change the angle of the gradient to something like 45deg. However, this results in an ugly pattern like this: \n\n See this example live\n\nBefore reading on, think for a second: why didn\u2019t this produce the desired result? Can you figure it out?\n\nThe reason is that the gradient angle rotates the gradient inside each tile, not the tiled background as a whole. However, didn\u2019t we have the same problem the first time we tried to create diagonal stripes with an image? And then we learned that every stripe has to be included twice, like so:\n\n\n\nSo, let\u2019s try to create that effect with CSS gradients. It\u2019s essentially what we tried before, but with more color stops:\n\nbackground: linear-gradient(45deg, white 25%,\n    #8b0 25%, #8b0 50%, \n    white 50%, white 75%, \n    #8b0 75%);\nbackground-size:100px 100px;\n\n See this example live\n\nAnd there we have our stripes! An easy way to remember the order of the percentages and colors it is that you always have two of the same in succession, except the first and last color.\n\nNote: Firefox for Mac also needs an additional 100% color stop at the end of any pattern with more than two stops, like so: ..., white 75%, #8b0 75%, #8b0). The bug was reported in February 2011 and you can vote for it and track its progress at Bugzilla.\n\nUnfortunately, this is essentially a hack and we will realize that if we try to change the gradient angle to 60deg:\n\n See this example live\n\nNot that maintainable after all, eh? Luckily, CSS3 offers us another way of declaring such backgrounds, which not only helps this case but also results in much more concise code:\n\nbackground: repeating-linear-gradient(60deg, white, white 35px, #8b0 35px, #8b0 70px);\n\n See this example live\n\nIn this case, however, the size has to be declared in the color stop positions and not through background-size, since the gradient is supposed to cover the entire container. You might notice that the declared size is different from the one specified the previous way. This is because the size of the stripes is measured differently: in the first example we specify the dimensions of the tile itself; in the second, the width of the stripes (35px), which is measured diagonally.\n\nMultiple backgrounds\n\nUsing only one gradient you can create stripes and that\u2019s about it. There are a few more patterns you can create with just one gradient (linear or radial) but they are more or less boring and ugly. Almost every pattern in my gallery contains a number of different backgrounds. For example, let\u2019s create a polka dot pattern:\n\nbackground: radial-gradient(circle, white 10%, transparent 10%),\nradial-gradient(circle, white 10%, black 10%) 50px 50px;\nbackground-size:100px 100px;\n\n See this example live\n\nNotice that the two gradients are almost the same image, but positioned differently to create the polka dot effect. The only difference between them is that the first (topmost) gradient has transparent instead of black. If it didn\u2019t have transparent regions, it would effectively be the same as having a single gradient, as the topmost gradient would obscure everything beneath it.\n\nThere is an issue with this background. Can you spot it?\n\nThis background will be fine for browsers that support CSS gradients but, for browsers that don\u2019t, it will be transparent as the whole declaration is ignored. We have two ways to provide a fallback, each for different use cases. We have to either declare another background before the gradient, like so:\n\nbackground: black;\nbackground: radial-gradient(circle, white 10%, transparent 10%),\nradial-gradient(circle, white 10%, black 10%) 50px 50px;\nbackground-size:100px 100px;\n\nor declare each background property separately:\n\nbackground-color: black;\nbackground-image: radial-gradient(circle, white 10%, transparent 10%),\nradial-gradient(circle, white 10%, transparent 10%);\nbackground-size:100px 100px;\nbackground-position: 0 0, 50px 50px;\n\nThe vigilant among you will have noticed another change we made to our code in the last example: we altered the second gradient to have transparent regions as well. This way background-color serves a dual purpose: it sets both the fallback color and the background color of the polka dot pattern, so that we can change it with just one edit. Always strive to make code that can be modified with the least number of edits. You might think that it will never be changed in that way but, almost always, given enough time, you\u2019ll be proved wrong.\n\nWe can apply the exact same technique with linear gradients, in order to create checkerboard patterns out of right triangles:\n\nbackground-color: white;\nbackground-image: linear-gradient(45deg, black 25%, transparent 25%, transparent 75%, black 75%), \nlinear-gradient(45deg, black 25%, transparent 25%, transparent 75%, black 75%);\nbackground-size:100px 100px;\nbackground-position: 0 0, 50px 50px;\n\n See this example live\n\nUsing the right units\n\nDon\u2019t use pixels for the sizes without any thought. In some cases, ems make much more sense. For example, when you want to make a lined paper background, you want the lines to actually follow the text. If you use pixels, you have to change the size every time you change font-size. If you set the background-size in ems, it will naturally follow the text and you will only have to update it if you change line-height.\n\nIs it possible?\n\nThe shapes that can be achieved with only one gradient are:\n\n\n\tstripes\n\tright triangles\n\tcircles and ellipses\n\tsemicircles and other shapes formed from slicing ellipses horizontally or vertically\n\n\nYou can combine several of them to create squares and rectangles (two right triangles put together), rhombi and other parallelograms (four right triangles), curves formed from parts of ellipses, and other shapes.\n\nJust because you can doesn\u2019t mean you should\n\nTechnically, anything can be crafted with these techniques. However, not every pattern is suitable for it. The main advantages of this technique are:\n\n\n\tno extra HTTP requests\n\tshort code\n\thuman-readable code (unlike data URIs) that can be changed without even leaving the CSS file.\n\n\nComplex patterns that require a large number of gradients are probably better left to SVG or bitmap images, since they negate almost every advantage of this technique:\n\n\n\tthey are not shorter\n\tthey are not really comprehensible \u2013 changing them requires much more effort than using an image editor\n\n\nThey still save an HTTP request, but so does a data URI.\n\nI have included some very complex patterns in my gallery, because even though I think they shouldn\u2019t be used in production (except under very exceptional conditions), understanding how they work and coding them helps somebody understand the technology in much more depth.\n\nAnother rule of thumb is that if your pattern needs shapes to obscure parts of other shapes, like in the star pattern or the yin yang pattern, then you probably shouldn\u2019t use it. In these patterns, changing the background color requires you to also change the color of these shapes, making edits very tedious.\n\nIf a certain pattern is not practicable with a reasonable amount of CSS, that doesn\u2019t mean you should resort to bitmap images. SVG is a very good alternative and is supported by all modern browsers.\n\nBrowser support\n\nCSS gradients are supported by Firefox 3.6+, Chrome 10+, Safari 5.1+ and Opera 11.60+ (linear gradients since Opera 11.10). Support is also coming in Internet Explorer when IE10 is released. You can get gradients in older WebKit versions (including most mobile browsers) by using the proprietary -webkit-gradient(), if you really need them.\n\nEpilogue\n\nI hope you find these techniques useful for your own designs. If you come up with a pattern that\u2019s very different from the ones already included, especially if it demonstrates a cool new technique, feel free to send a pull request to the github repo of the patterns gallery. Also, I\u2019m always fascinated to see my techniques put in practice, so if you made something cool and used CSS patterns, I\u2019d love to know about it!\n\nHappy holidays!", "year": "2011", "author": "Lea Verou", "author_slug": "leaverou", "published": "2011-12-16T00:00:00+00:00", "url": "https://24ways.org/2011/css3-patterns-explained/", "topic": "code"}
{"rowid": 286, "title": "Defending the Perimeter Against Web Widgets", "contents": "On July 14, 1789, citizens of Paris stormed the Bastille, igniting a revolution that toppled the French monarchy. On July 14 of this year, there was a less dramatic (though more tweeted) takedown: The Deck network, which delivers advertising to some of the most popular web design and culture destinations, was down for about thirty minutes. During this period, most partner sites running ads from The Deck could not be viewed as result.\n\nA few partners were unaffected (aside from not having an ad to display). Fortunately, Dribbble, was one of them. In this article, I\u2019ll discuss outages like this and how to defend against them. But first, a few qualifiers: The Deck has been rock solid \u2013 this is the only downtime we\u2019ve witnessed since joining in June. More importantly, the issues in play are applicable to any web widget you might add to your site to display third-party content.\n\nDown and out\n\nYour defense is only as good as its weakest link. Web pages are filled with links, some of which threaten the ability of your page to load quickly and correctly. If you want your site to work when external resources fail, you need to identify the weak links on your site. In this article, we\u2019ll talk about web widgets as a point of failure and defensive JavaScript techniques for handling them.\n\nWidgets 101\n\nImagine a widget that prints out a Pun of the Day on your site. A simple technique for both widget provider and consumer is for the provider to expose a URL:\n\nhttp://widgetjonesdiary.com/punoftheday.js\n\nwhich returns a JavaScript file like this:\n\ndocument.write(\"<h2>The Pun of the Day</h2><p>Where do frogs go for beers after work? Hoppy hour!</p>\");\n\nThe call to document.write() injects the string passed into the document where it is called. So to display the widget on your page, simply add an external script tag where you want it to appear:\n\n<div class=\"punoftheday\">\n  <script src=\"http://widgetjonesdiary.com/punoftheday.js\"></script>\n  <!-- Content appears here as output of script above -->\n</div>\n\nThis approach is incredibly easy for both provider and consumer. But there are implications\u2026\n\ndocument.write()\u2026 or wrong?\n\nAs in the example above, scripts may perform a document.write() to inject HTML. Page rendering halts while a script is processed so any output can be inlined into the document. Therefore, page rendering speed depends on how fast the script returns the data. If an external JavaScript widget hangs, so does the page content that follows. It was this scenario that briefly stalled partner sites of The Deck last summer.\n\nThe elegant solution\n\nTo make our web widget more robust, calls to document.write() should be avoided. This can be achieved with a technique called JSONP (AKA JSON with padding). In our example, instead of writing inline with document.write(), a JSONP script passes content to a callback function:\n\npublishPun(\"<h2>Pun of the Day</h2><p>Where do frogs go for beers after work? Hoppy hour!</p>\");\n\nThen, it\u2019s up to the widget consumer to implement a callback function responsible for displaying the content. Here\u2019s a simple example where our callback uses jQuery to write the content into a target <div>:\n\n<!-- Where widget content should appear -->\n<div class=\"punoftheday\"></div>\n\n\u2026\n\n\n<br />\nfunction publishPun(content) {\n  $(&#8216;.punoftheday&#8217;).html(content); // Writes content display location<br />\n}<br />\n\n\n\n\nView Example 1\n\nEven if the widget content appears at the top of the page, our script can be included at the bottom so it\u2019s non-blocking: a slow response leaves page rendering unaffected. It simply invokes the callback which, in turn, writes the widget content to its display destination.\n\nThe hack\n\nBut what to do if your provider doesn\u2019t support JSONP? This was our case with The Deck. Returning to our example, I\u2019m reminded of computer scientist David Wheeler\u2019s statement, \u201cAll problems in computer science can be solved by another level of indirection\u2026 Except for the problem of too many layers of indirection.\u201d\n\nIn our case, the indirection is to move the widget content into position after writing it to the page. This allows us to place the widget <script> tag at the bottom of the page so rendering won\u2019t be blocked, but still display the widget in the target. The strategy:\n\n\n\tLoad widget content into a hidden <div> at the bottom of the page.\n\tMove the loaded content from the hidden <div> to its display location.\n\n\nand the code:\n\n<!-- Where widget content should appear -->\n<div class=\"punoftheday\"></div>\n\n\u2026\n\n\n\n  \n  \n\n\n\n<br />\n$(&#8216;.punoftheday&#8217;).append($(&#8216;.loading-dock&#8217;).children(&#8216;:gt(0)&#8217;));<br />\n\nView Example 2\n\nAfter the external punoftheday.js script has processed, the rendered HTML will look as follows:\n\n<div class=\"loading-dock hidden\">\n  <script src=\"http://widgetjonesdiary.com/punoftheday.js\"></script>\n  <h2>Pun of the Day</h2>\n  <p>Where do frogs go for beers after work? Hoppy hour!</p>\n</div>\n\nThe \u2018loading-dock\u2019 <div> now includes the widget content, albeit hidden from view (if we\u2019ve styled the \u2018hidden\u2019 class with display: none). There\u2019s just one more step: move the content to its display destination. This line of jQuery (from above) does the trick:\n\n$('.punoftheday').append($('.loading-dock').children(':gt(0)'));\n\nThis selects all child elements in the \u2018loading-doc\u2019 <div> except the first \u2013 the widget <script> tag which generated it \u2013 and moves it to the display destination. Worth noting is the :gt(0) jQuery selector extension, which allows us to exclude the first (in a 0-based array) child element \u2013 the widget <script> tag \u2013 from selection.\n\nSince all of this happens at the bottom of the page, just before the </body> tag, no rendering has to wait on the external widget script. The only thing that fails if our widget hangs is\u2026 the widget itself. Our weakest link has been strengthened and so has our site. DE-FENSE!", "year": "2011", "author": "Rich Thornett", "author_slug": "richthornett", "published": "2011-12-06T00:00:00+00:00", "url": "https://24ways.org/2011/defending-the-perimeter-against-web-widgets/", "topic": "process"}
{"rowid": 279, "title": "Design the Invisible to Tell Better Stories on the Web", "contents": "For design to be meaningful we need to tell stories. We need to design the invisible, the cues, the messages and the extra detail hidden beneath the aesthetics. It\u2019s all about the story.\n\n\n\nFrom verbal exchanges around the campfire to books, the web and everything in between, storytelling allows us to share, organize and process information more efficiently. It helps us understand our surroundings and make emotional connections to people, places and experiences.\n\nWeb design lends itself perfectly to the conventions of storytelling, a universal process. However, the stories vary because they\u2019re defined by culture, society, politics and religion. All of which need considering if you are to design stories that are relevant to your target audience.\n\nThe benefits of approaching design with storytelling in mind from the very start of the project is that we are creating considered design that allows users to quickly gather meaning from the website. They do this by reading between the lines and drawing on the wealth of knowledge they have acquired about the associations between colours, typyefaces and signs.\n\nWith so much recognition and analysis happening subconsciously you have to consider how design communicates on this level. This invisible layer has a significant impact on what you say, how you say it and who you say it to.\n\nHow can we design something that\u2019s invisible?\n\nBy researching and making conscious decisions about exactly what you are communicating, you can make the invisible visible. As is often quoted, good design is like air, you only notice it when it\u2019s bad. So by designing the invisible the aim is to design stories that the audience receive subliminally, so that they go somewhat unnoticed, like good air.\n\nStorytelling strands\n\nTo share these stories through design, you can break it down into several strands. Each strand tells a story on its own, but when combined they may start to tell a different story altogether. These strands are colour, typefaces, branding, tone of voice and symbols. All are literal and visible but the invisible element is the meaning behind them \u2013 meaning that you can extract and share. In this article I want to focus on colour, typefaces and tone of voice and on how combining story strands can change the meaning.\n\nColour\n\nLet\u2019s start with colour. Red represents emotions such as love but can also signify war. Green is commonly used for all things environmental and purple is a colour that connotes wealth and royalty. These associations between colour and emotion or value have been learned over time and are continually reinforced through media and culture. \n\n\n\nWith this knowledge come expectations from your users. For example, they will expect Valentine\u2019s Day sites to be red and kids\u2019 sites to be bright and colourful. This is true in the same way audiences have expectations of certain genres of film or music. These conventions help savvy audiences decode texts and read between the lines or, rather, to draw meaning from the invisible. It\u2019s practically an innate skill. This is why you need to design the invisible: because users will quickly deduce meaning from your site and fill in the story\u2019s gaps, it\u2019s important to give them as much of that story to begin with. A story relevant to their culture.\n\n\n\nOf all the ways you can tell stories through web design, colour is the most fascinating and important. Not only does it evoke emotions in users but its meaning varies significantly between cultures. In the west, for example, white is a colour associated with weddings, and black is the colour of mourning. This is signified by the traditions of brides wearing white and those in mourning wearing black. In other cultures the meanings are reversed, as black is a colour that represents good luck and white is a colour that signifies mourning. If you assume the same values are true in all cultures then you risk offending the very people you are targeting.\n\nWhen colours combine, the story being told can change. If you design using red, white and blue then it\u2019s going to be difficult to shake off patriotic connotations because this colour combination is so ingrained as being American or British or French thanks largely to their flags. This extends to politics too. Each party has its own representative colour. In the UK, the Conservatives are blue and Labour is red so it would be inappropriate storytelling to design a Labour-related website in blue as there would be a conflict between the content and the design, a conflict that would result in a poor user experience.\n\nConflicts become more of an issue when you start to combine story strands. I once saw a No VAT advert use the symbol on the left:\n\n\n\nThere\u2019s a complete conflict in storytelling here between the sign and its colour. The prohibition sign was used over the word VAT to mean no VAT; that makes sense. But this is a symbol that is used to communicate to people that something is being prohibited or prevented, it mustn\u2019t continue. So to use green contradicts the message of the sign itself; green is used as a colour to say yes, go, proceed, enter. The same would be true if we had a tick in red and a cross in green. Bad design here means the story is flawed and the user experience is compromised.\n\nTypefaces\n\nTypefaces also tell stories. They are so much more than the words that are written with them because they connote different values. Here are a few:\n\n\n\nSerif fonts are more formal and are associated with tradition, sophistication and high-end values. Sans serif fonts, on the other hand, are synonymous with modernity, informality and friendliness. These perceptions are again reinforced through more traditional media such as newspaper mastheads, where the serious news-focused broadsheets have serif titles, and the showbiz and gossip-led tabloids have sans serif titles. This translates to the web as well. With these associations already familiar to users, they may see copy and focus on the words, but if the way that copy is displayed jars with the context then we are back to having conflicting stories like the No VAT sign earlier.\n\nLet\u2019s take official institutions, for example. The White House, the monarchy, 10 Downing Street and other government departments are formal, traditional and important organisations. If the copy on their websites were written in a typeface like Cooper Black, it would erase any authority and respect that they were due. They need people to take them seriously and trust them, and part of the way to do this is to have a typeface that represents those values.\n\nIt works both ways though. If Innocent, Threadless or other fun companies used traditional typefaces, they wouldn\u2019t be accurate reflections of their core values, brand and personality. They are better positioned to use friendly, informal and modern typefaces. But still never Comic Sans.\n\nTone of voice\n\nClosely tied to this is tone of voice, my absolute bugbear on the web. Tone of voice isn\u2019t what is said but, rather, how it is said. When we interact with others in person we don\u2019t just listen to the words they say, but we also draw meaning from their body language, and pitch and tone of voice. Just because the web removes that face-to-face interaction with your audience it doesn\u2019t mean you can\u2019t have a tone of voice. \n\n\n\nInnocent pioneered the informal chatty tone of voice that so many others have since emulated, but unless it is representative of your company, then it\u2019s not appropriate. It works for Innocent because the tone of voice is consistent across all the company\u2019s materials, both online and offline. Ben and Jerry\u2019s takes the same approach, as does Threadless, but maybe you need a more formal or corporate tone of voice. It really depends on what your business or service is and who it is for, and that is why I think LoveFilm has it all wrong. \n\nLoveFilm offers a film and game rental service, something fun for people in their downtime. While they aren\u2019t particularly stuffy, neither is their tone of voice very friendly or informal, which is what I would expect from a service like theirs. The reason they have it wrong is in the language they use and the way their sentences are constructed.\n\nThis is the first time we\u2019ve discussed language because, on the whole, designing the invisible isn\u2019t concerned with language at all. But that doesn\u2019t mean that these strands can\u2019t still elicit an emotional response in users. Jon Tan quoted Dr Mazviita Chirimuuta in his New Adventures in Web Design talk in January 2011:\n\n\n\tAlthough there is no absolute separation between language and emotion, there will still be countless instances where you have emotional response without verbal input or linguistic cognition. In general language is not necessary for emotion.\n\n\nThis is even more pertinent when the emotions evoked are connected to people\u2019s culture, surroundings and way of life. It makes design personal, something that audiences can connect with at more than just face value but, rather, on a subliminal or, indeed, invisible level. \n\nIt also means that when you are asked the inevitable question of why \u2013 why is blue the dominant colour? why have you used that typeface? why don\u2019t we sound like Innocent? \u2013 you will have a rationale behind each design decision that can explain what story you are telling, how you discovered the story and how it is targeted at the core audience.\n\nResearch\n\nThis is where research plays a vital role in the project cycle. If you don\u2019t know and understand your audience then you don\u2019t know what story to design. Every project lends itself to some level of research, but how in-depth and what methods are most appropriate will be dictated by project requirements and budget restrictions \u2013 but do your research. \n\nEven if you think you know your audience, it doesn\u2019t hurt to research and reaffirm that because cultures and society do change, albeit slowly, but they can change. So ask questions at the start of the project during the research phase:\n\n\n\tWhat do different colours mean for your audience\u2019s culture?\n\tDo the typeface and tone of voice appeal to the demographic?\n\tDoes the brand identity represent the values and personality of your service?\n\tAre there any social, political or religious significances associated with your audience that you need to take into consideration so you don\u2019t offend them?\n\n\nAsk questions, understand your audience, design your story based on these insights, and create better user experiences in context that have good, solid storytelling at their heart.\n\nMajor hat tip to Gareth Strange for the beautiful graphics used within this article.", "year": "2011", "author": "Robert Mills", "author_slug": "robertmills", "published": "2011-12-14T00:00:00+00:00", "url": "https://24ways.org/2011/design-the-invisible/", "topic": "design"}
{"rowid": 265, "title": "Designing for Perfection", "contents": "Hello, 24 ways readers. I hope you\u2019re having a nice run up to Christmas. This holiday season I thought I\u2019d share a few things with you that have been particularly meaningful in my work over the last year or so. They may not make you wet your santa pants with new-idea-excitement, but in the context of 24 ways I think they may serve as a nice lesson and a useful seasonal reminder going into the New Year. Enjoy!\n\nStory\n\nDespite being a largely scruffy individual for most of my life, I had some interesting experiences regarding kitchen tidiness during my third year at university. \n\nAs a kid, my room had always been pretty tidy, and as a teenager I used to enjoy reordering my CDs regularly (by artist, label, colour of spine \u2013 you get the picture); but by the time I was twenty I\u2019d left most of these traits behind me, mainly due to a fear that I was turning into my mother. The one remaining anally retentive part of me that remained however, lived in the kitchen. For some reason, I couldn\u2019t let all the pots and crockery be strewn across the surfaces after cooking. I didn\u2019t care if they were washed up or not, I just needed them tidied. The surfaces needed to be continually free of grated cheese, breadcrumbs and ketchup spills. Also, the sink always needed to be clear. Always. Even a lone teabag, discarded casually into the sink hours previously, would give me what I used to refer to as \u201ckitchen rage\u201d.\n\nWhilst this behaviour didn\u2019t cause any direct conflicts, it did often create weirdness. We would be happily enjoying a few pre-night out beverages (Jack Daniels and Red Bull \u2013 nice) when I\u2019d notice the state of the kitchen following our round of customized 49p Tesco pizzas. Kitchen rage would ensue, and I\u2019d have to blitz the kitchen, which usually resulted in me having to catch everyone up at the bar afterwards.\n\nOne evening as we were just about to go out, I was stood there, in front of the shithole that was our kitchen with the intention of cleaning it all up, when a realization popped into my head. In hindsight, it was a pretty obvious one, but it went along the lines of \u201cWhat the fuck are you doing? Sort your life out\u201d. I sodded the washing up, rolled out with my friends, and had a badass evening of partying.\n\nAfter this point, whenever I got the urge to clean the kitchen, I repeated that same realization in my head. My tidy kitchen obsession strived for a level of perfection that my housemates just didn\u2019t share, so it was ultimately pointless. It didn\u2019t make me feel that good, either; it was like having a cigarette after months of restraint \u2013 initially joyous but soon slightly shameful.\n\nLesson\n\nNow, around seven years later, I\u2019m a designer on the web and my life is chaotic. It features no planning for significant events, no day-to-day routine or structure, no thought about anything remotely long-term, and I like to think I do precisely what I want. It seems my days at striving for something ordered and tidy, in most parts of my life, are long gone.\n\nFor much of my time as a designer, though, it\u2019s been a different story. I relished industry-standard terms such as \u2018pixel perfection\u2019 and \u2018polished PSDs\u2019, taking them into my stride as I strove to design everything that was put on my plate perfectly. Even down to grids and guidelines, all design elements would be painstakingly aligned to a five-pixel grid. There were no seven-pixel margins or gutters to be found in my design work, that\u2019s for sure. I put too much pride and, inadvertently, too much ego into my work. Things took too long to create, and because of the amount of effort put into the work, significant changes, based on client feedback for example, were more difficult to stomach.\n\nOver the last eighteen months I\u2019ve made a conscious effort to change the way I approach designing for the web. Working on applications has probably helped with this; they seem to have a more organic development than rigid content-based websites. Mostly though, a realization similar to my kitchen rage one came about when I had to make significant changes to a painstakingly crafted Photoshop document I had created. The changes shouldn\u2019t have been difficult or time-consuming to implement, but they were turning out to be. One day, frustrated with how long it was taking, the refrain \u201cWhat the fuck are you doing? Sort your life out\u201d again entered my head. I blazed the rest of the work, not rushing or doing scruffy work, but just not adhering to the insane levels of perfection I had previously set for myself. When the changes were presented, everything went down swimmingly. The client in this case (and I\u2019d argue most cases) cared more about the ideas than the perfect way in which they had been implemented. I had taken myself and my ego out of the creative side of the work, and it had been easier to succeed.\n\nArgument\n\nI know many other designers who work on the web share such aspirations to perfection. I think it\u2019s a common part of the designer DNA, but I\u2019m not sure it really has a place when designing for the web.\n\nFirst, there\u2019s the environment. The landscape in which we work is continually shifting and evolving. The inherent imperfection of the medium itself makes attempts to create perfect work for it redundant. Whether you consider it a positive or negative point, the products we make are never complete. They\u2019re always scaling and changing. \n\nLike many aspects of web design, this striving for perfection in our design work is a way of thinking borrowed from other design industries where it\u2019s more suited. A physical product cannot be as easily altered or developed after it has been manufactured, so the need to achieve perfection when designing is more apt.\n\nDesigners who can relate to anything I\u2019ve talked about can easily let go of that anal retentiveness if given the right reasons to do so. Striving for perfection isn\u2019t a bad thing, but I simply don\u2019t think it can be achieved in such a fast-moving, unique industry. I think design for the web works better when it begins with quick and simple, followed by iteration and polish over time. \n\nTo let go of ego and to publish something that you\u2019re not completely happy with is perhaps the most difficult part of the job for designers like us, but it\u2019s followed by a satisfaction of knowing your product is alive and breathing, whereas others (possibly even competitors) may still be sitting in Photoshop, agonizing over whether a margin should be twenty or forty pixels.\n\nI keep telling myself to stop sitting on those two hundred ideas that are all half-finished. Publish them, clean them up and iterate over time. I\u2019ve been telling myself this for months and, hopefully, writing this article will give me the kick in the arse I need. Hopefully, it will also give someone else the same kick.", "year": "2011", "author": "Greg Wood", "author_slug": "gregwood", "published": "2011-12-17T00:00:00+00:00", "url": "https://24ways.org/2011/designing-for-perfection/", "topic": "process"}
{"rowid": 288, "title": "Displaying Icons with Fonts and Data- Attributes", "contents": "Traditionally, bitmap formats such as PNG have been the standard way of delivering iconography on websites. They\u2019re quick and easy, and it also ensures they\u2019re as pixel crisp as possible. Bitmaps have two drawbacks, however: multiple HTTP requests, affecting the page\u2019s loading performance; and a lack of scalability, noticeable when the page is zoomed or viewed on a screen with a high pixel density, such as the iPhone 4 and 4S.\n\nThe requests problem is normally solved by using CSS sprites, combining the icon set into one (physically) large image file and showing the relevant portion via background-position. While this works well, it can get a bit fiddly to specify all the positions. In particular, scalability is still an issue. A vector-based format such as SVG sounds ideal to solve this, but browser support is still patchy.\n\n\n\nThe rise and adoption of web fonts have given us another alternative. By their very nature, they\u2019re not only scalable, but resolution-independent too. No need to specify higher resolution graphics for high resolution screens! \n\nThat\u2019s not all though:\n\n\n\tBrowser support: Unlike a lot of new shiny techniques, they have been supported by Internet Explorer since version 4, and, of course, by all modern browsers. We do need several different formats, however!\n\tDesign on the fly: The font contains the basic graphic, which can then be coloured easily with CSS \u2013 changing colours for themes or :hover and :focus styles is done with one line of CSS, rather than requiring a new graphic. You can also use CSS3 properties such as text-shadow to add further effects. Using -webkit-background-clip: text;, it\u2019s possible to use gradient and inset shadow effects, although this creates a bitmap mask which spoils the scalability.\n\tSmall file size: specially designed icon fonts, such as Drew Wilson\u2019s Pictos font, can be as little as 12Kb for the .woff font. This is because they contain fewer characters than a fully fledged font. You can see Pictos being used in the wild on sites like Garrett Murray\u2019s Maniacal Rage.\n\n\nAs with all formats though, it\u2019s not without its disadvantages: \n\n\n\tIcons can only be rendered in monochrome or with a gradient fill in browsers that are capable of rendering CSS3 gradients. Specific parts of the icon can\u2019t be a different colour.\n\tIt\u2019s only appropriate when there is an accompanying text to provide meaning. This can be alleviated by wrapping the text label in a tag (I like to use <b> rather than <span>, due to the fact that it\u2019s smaller and isn\u2019 t being used elsewhere) and then hiding it from view with text-indent:-999em.\n\tCreating an icon font can be a complex and time-consuming process. While font editors can carry out hinting automatically, the best results are achieved manually.\n\tUnless you\u2019re adept at creating your own fonts, you\u2019re restricted to what is available in the font. However, fonts like Pictos will cover the most common needs, and icons are most effective when they\u2019re using familiar conventions.\n\n\nThe main complaint about using fonts for icons is that it can mean adding a meaningless character to our markup. The good news is that we can overcome this by using one of two methods \u2013 CSS generated content or the data-icon attribute \u2013 in combination with the :before and :after pseudo-selectors, to keep our markup minimal and meaningful. \n\nOur simple markup looks like this:\n\n<a href=\"/basket\" class=\"icon basket\">View Basket</a>\n\nNote the multiple class attributes. Next, we\u2019ll import the Pictos font using the @font-face web fonts property in CSS:\n\n@font-face {\n    font-family: 'Pictos';\n    src: url('pictos-web.eot');\n    src: local('\u263a'), \n    url('pictos-web.woff') format('woff'), \n    url('pictos-web.ttf') format('truetype'),\n    url('pictos-web.svg#webfontIyfZbseF') format('svg');\n}\n\nThis rather complicated looking set of rules is (at the time of writing) the most bulletproof way of ensuring as many browsers as possible load the font we want.  We\u2019ll now use the content property applied to the :before pseudo-class selector to generate our icon. Once again, we\u2019ll use those multiple class attribute values to set common icon styles, then specific styles for .basket. This helps us avoid repeating styles:\n\n.icon {\n    font-family: 'Pictos';\n    font-size: 22px:\n}\n\n.basket:before {\n    content: \"$\";\n}\n\nWhat does the :before pseudo-class do? It generates the dollar character in a browser, even when it\u2019s not present in the markup. Using the generated content approach means our markup stays simple, but we\u2019ll need a new line of CSS, defining what letter to apply to each class attribute for every icon we add.\n\ndata-icon is a new alternative approach that uses the HTML5 data- attribute in combination with CSS attribute selectors. This new attribute lets us add our own metadata to elements, as long as its prefixed by data- and doesn\u2019t contain any uppercase letters. In this case, we want to use it to provide the letter value for the icon. Look closely at this markup and you\u2019ll see the data-icon attribute.\n\n<a href=\"/basket\" class=\"icon\" data-icon=\"$\">View Basket</a>\n\n\n\nWe could add others, in fact as many as we like.\n\n<a href=\"/\" class=\"icon\" data-icon=\"k\">Favourites</a>\n<a href=\"/\" class=\"icon\" data-icon=\"t\">History</a>\n<a href=\"/\" class=\"icon\" data-icon=\"@\">Location</a>\n\n\n\nThen, we need just one CSS attribute selector to style all our icons in one go:\n\n.icon:before {\n    content: attr(data-icon);\n    /* Insert your fancy colours here */\n    }\n\nBy placing our custom attribute data-icon in the selector in this way, we can enable CSS to read the value of that attribute and display it before the element (in this case, the anchor tag). It saves writing a lot of CSS rules. I can imagine that some may not like the extra attribute, but it does keep it out of the actual content \u2013 generated or not.\n\n\n\n\n\nThis could be used for all manner of tasks, including a media player and large simple illustrations. See the demo for live examples. Go ahead and zoom the page, and the icons will be crisp, with the exception of the examples that use -webkit-background-clip: text as mentioned earlier.\n\nFinally, it\u2019s worth pointing out that with both generated content and the data-icon method, the letter will be announced to people using screen readers. For example, with the shopping basket icon above, the reader will say \u201cdollar sign view basket\u201d. As accessibility issues go, it\u2019s not exactly the worst, but could be confusing. You would need to decide whether this method is appropriate for the audience. Despite the disadvantages, icon fonts have huge potential.", "year": "2011", "author": "Jon Hicks", "author_slug": "jonhicks", "published": "2011-12-12T00:00:00+00:00", "url": "https://24ways.org/2011/displaying-icons-with-fonts-and-data-attributes/", "topic": "code"}
{"rowid": 287, "title": "Extracting the Content", "contents": "As we throw away our canvas in approaches and yearn for a content-out process, there remains a pain point: the Content. It is spoken of in the hushed tones usually reserved for Lord Voldemort. The-thing-that-someone-else-is-responsible-for-that-must-not-be-named.\n\nDesigners and developers have been burned before by not knowing what the Content is, how long it is, what style it is and when the hell it\u2019s actually going to be delivered, in internet eons past. Warily, they ask clients for it. But clients don\u2019t know what to make, or what is good, because no one taught them this in business school. Designers struggle to describe what they need and when, so the conversation gets put off until it\u2019s almost too late, and then everyone is relieved that they can take the cop-out of putting up a blog and maybe some product descriptions from the brochure.\n\nThe Content in content out.\n\nI\u2019m guessing, as a smart, sophisticated, and, may I say, nicely-scented reader of the honourable and venerable tradition of 24 ways, that you sense something better is out there. Bunches of boxes to fill in just don\u2019t cut it any more in a responsive web design world. The first question is, how are you going to design something to ensure users have the easiest access to the best Content, if you haven\u2019t defined at the beginning what that Content is? Of course, it\u2019s more than possible that your clients have done lots of user research before approaching you to start this project, and have a plethora of finely tuned Content for you to design with.\n\nHave you finished laughing yet? Alright then. Let\u2019s just assume that, for whatever reason of gross oversight, this hasn\u2019t happened. What next?\n\nBringing up Content for the first time with a client is like discussing contraception when you\u2019re in a new relationship. It might be awkward and either party would probably rather be doing something else, but it needs to be broached before any action happens (that, and it\u2019s disastrous to assume the other party has the matter in hand). If we can\u2019t talk about it, how can we expect people to be doing it right and not making stupid mistakes? That being the case, how do we talk about Content? Let\u2019s start by finding a way to talk about it without blushing and scuffing our shoes. And there\u2019s a reason I\u2019ve been treating Content as a Proper Noun. \n\nThe first step, and I mean really-first-step-way-back-at-the-beginning-of-the-project-while-you-are-still-scoping-out-what-the-hell-you-might-do-for-each-other-and-it\u2019s-still-all-a-bit-awkward-like-a-first-date, is for you to explain to the client how important it is that you, together, work out what is important to your users as part of the user experience design, so that your users get the best user experience. The trouble is that, in most cases, this would lead to blank stares, possibly followed by a light cough and a query about using Comic Sans because it seems friendly.\n\nLet\u2019s start by ensuring your clients understand the task ahead. You see, all the time we talk about the Content we do our clients a big disservice. Content is poorly defined. It looms over a project completion point like an unscalable (in the sense of a dozen stacked Kilimanjaros), seething, massive, singular entity. The Content.\n\nDefining the problem. \n\nWe should really be thinking of the Content as \u2018contents\u2019; as many parts that come together to form a mighty experience, like hit 90s kids\u2019 TV show Mighty Morphin Power Rangers*.\n\n*For those of you who might have missed the Power Rangers, they were five teenagers with attitude, each given crazy mad individual skillz and a coloured lycra suit from an alien overlord. In return, they had to fight a new monster of the week using their abilities and weaponry in sync (even if the audio was not) and then, finally, in thrilling combination as a Humongous Mechanoid Machine of Awesome. They literally joined their individual selves, accessories and vehicles into a big robot. It was a toy manufacturer\u2019s wet dream.\n\nSo, why do I say Content is like the Power Rangers? Because Content is not just a humongous mecha. It is a combination of well-crafted pieces of contents that come together to form a well-crafted humongous mecha. Of Content.\n\nThe Red Power Ranger was always the leader. You can imagine your text contents, found on about pages, product descriptions, blog articles, and so on, as being your Red Power Ranger.\n\nMaybe your pictures are your Yellow Power Ranger; video is Blue (not used as much as the others, but really impressive when given a good storyline); maybe Pink is your infographics (it\u2019s wrong to find it sexier than the other equally important Rangers, but you kind of do anyway). And so on. \n\nThese bits of content \u2013 Red Text Ranger, Yellow Picture Ranger and others \u2013 often join together on a page, like they are teaming up to fight the bad guy in an action scene, and when they all come together (your standard workaday huge mecha) in a launched site, that\u2019s when Content becomes an entity.\n\nWhile you might have a vision for the whole site, Content rarely works that way. Of course, you keep your eye on the bigger prize, the completion of your mega robot, but to get there you need to assemble your working parts, the cogs and springs of contents that will mesh together to finally create your Humongous Mecha of Content. You create parts and join them to form a whole. (It\u2019s rarely seamless; often we need to adjust as we go, but we can create our Mecha\u2019s blueprint by making sure we have all the requisite parts.)\n\nThe point here is the order these parts were created. No alien overlord plans a Humongous Mechanoid and then thinks, \u201cGee, how can I split this into smaller fighting units powered by teenagers in snazzy shiny suits?\u201d No toy manufacturer goes into production of a mega robot, made up of model mecha vehicles with detachable arsenal, without thinking how they will easily fit back together to form the \u2018Buy all five now to create the mega robot\u2019 set. No good contents are created as a singular entity and chunked up to be slotted in to place any which way, into the body of a site.\n\nThink contents, not the Content. Think of contents as smaller units, or as a plural. The Content is what you have at the end. The contents are what you are creating and they are easy to break down. You are no longer scaling the unscalable. You can draw the map and plot the path, page by page, section by section.\n\nThe page table is your friend\n\nTo do this, I use a page table. A page table is a simple table template you can create in the word processor of your choice, that you use to tell you everything about the contents of a page \u2013 everything except the contents itself. \n\nHere\u2019s a page table I created for an employee\u2019s guide to redundancy in the alpha.gov.uk website:\n\n \n\nGuide to redundancy for employees\n\n\n\tPage objective: Provide specific information for employees who are facing redundancy about the process, their options and next steps.\n\tSource content: directgov page on Redundancy.\n\tScope: In scope\n\n\n\n\t\t\n\t\t\tPage title \n\t\t\t An employee\u2019s guide to redundancy \n\t\t\n\t\t\n\t\t\tPriority content \n\t\t\t Message: You have rights as an employee facing redundancy\nMethod: A guide written in plain English, with links to appropriate additional content.\nA video guide (out of scope).\nCovers the stages of redundancy and rights for those in trade unions and not in trade unions. Glossary of unfamiliar terms.\nCall to action: Read full guide, act to explore redundancy actions, benefits or new employment.\nAssets: link to redundancy calculator. \n\t\t\n\t\t\n\t\t\tSecondary \n\t\t\t Related items, or popular additional links. \nAdditional tools, such as search and suggestions.\n\n\n\n\tlocation set v not set states\n\tmicrocopy encouraging location set where location may make a difference to the content \u2013 ie, Scotland/Northern Ireland.\n\n\t\t\n\t\t\n\t\t\tTertiary \n\t\t\t Footer and standard links. \n\t\t\n\n\n\n\tContent creation: Content exists but was created within the constraints of the previous CMS. Review, correct and edit where necessary.\n\tMaintenance: should be flagged for review upon advice from Department of Work and Pensions, and annually.\n\tTechnology/Publishing/Policy implications: Should be reviewed once the glossary styles have been decided. No video guide in scope at this time, so languages should be simple and screen reader friendly.\n\tReliance on third parties: None, all content and source exists in house.\n\tOutstanding questions: None.\n\n\n \n\nDownload a copy of this page table\n\nThis particular page table template owes a lot to Brain Traffic\u2019s version found in Kristina Halvorson\u2019s book Content Strategy for the Web. With smaller clients than, say, the government, I might use something a bit more casual. With clients who like timescales and deadlines, I might turn it into a covering sheet, with signatures and agreements from two departments who have to work together to get the piece done on time.\n\nI use page tables, and the process of working through them, to reassure clients that I understand the task they face and that I can help them break it down section by section, page stack to page, down to product descriptions and interaction copy. About 80% of my clients break into relieved smiles. Most clients want to work with you to produce something good, they just don\u2019t understand how, and they want you to show them the mountain path on the map. With page tables, clients can understand that with baby steps they can break down their content requirements and commission content they need in time for the designers to work with it (as opposed to around it).  If I was Santa, these clients would be on my nice list for sure.\n\nMy own special brand of Voldemort-content-evilness comes in how I wield my page tables for the other 20%. Page tables are not always thrilling, I\u2019ll admit. Sometimes they get ignored in favour of other things, yet they are crucial to the continual growth and maintenance of a truly content-led site. For these naughty list clients who, even when given the gift of the page table, continually say \u201cOoh, yes. Content. Right\u201d, I have a special gift. I have a stack of recycled paper under my desk and a cheap black and white laser printer. And I print a blank page table for every conceivable page I can find on the planned redesign. If I\u2019m feeling extra nice, I hole punch them and put them in a fat binder. \n\nThere is nothing like saying, \u201cThis is all the contents you need to have in hand for launch\u201d, and the satisfying thud the binder makes as it hits the table top, to galvanize even the naughtiest clients to start working with you to create the content you need to really create in a content-out way.", "year": "2011", "author": "Relly Annett-Baker", "author_slug": "rellyannettbaker", "published": "2011-12-15T00:00:00+00:00", "url": "https://24ways.org/2011/extracting-the-content/", "topic": "content"}
{"rowid": 270, "title": "From Side Project to Not So Side Project", "contents": "In the last article I wrote for 24 ways, back in 2009, I enthused about the benefits of having a pet project, suggesting that we should all have at least one so that we could collaborate with our friends, escape our day jobs, fulfil our own needs, help others out, raise our profiles, make money, and \u2014 most importantly \u2014 have fun. I don\u2019t think I need to offer any further persuasions: it seems that designers and developers are launching their own pet projects left, right and centre. This makes me very happy.\n\nHowever, there still seems to be something of a disconnect between having a side project and turning it into something that is moderately successful; in particular, the challenge of making enough money to sustain the project and perhaps even elevating it from the sidelines so that it becomes something not so on the side at all.\n\nBefore we even begin this, let\u2019s spend a moment talking about money, also known as\u2026\n\nEvil, nasty, filthy money\n\nOver the last couple of years, I\u2019ve started referring to myself as an accidental businessman. I say accidental because my view of the typical businessman is someone who is driven by money, and I usually can\u2019t stand such people. Those who are motivated by profit, obsessed with growth, and take an active interest in the world\u2019s financial systems don\u2019t tend to be folks with whom I share a beer, unless it\u2019s to pour it over them. Especially if they\u2019re wearing pinstriped suits.\n\nThat said, we all want to make money, don\u2019t we? And most of us want to make a relatively decent amount, too. I don\u2019t think there\u2019s any harm in admitting that, is there? Hello, I\u2019m Elliot and I\u2019m a capitalist.\n\nThe key is making money from doing what we love. For most people I know in our community, we\u2019ve already achieved that \u2014 I\u2019m hard-pressed to think of anyone who isn\u2019t extremely passionate about working in our industry and I think it\u2019s one of the most positive, unifying benefits we enjoy as a group of like-minded people \u2014 but side projects usually arise from another kind of passion: a passion for something other than what we do as our day jobs. Perhaps it\u2019s because your clients are driving you mental and you need a break; perhaps it\u2019s because you want to create something that is truly your own; perhaps it\u2019s because you\u2019re sick of seeing your online work disappear so fast and you want to try your hand at print in order to make a more permanent mark.\n\nThe three factors I listed there led me to create 8 Faces, a printed magazine about typography that started as a side project and is now a very significant part of my yearly output and income.\n\nLike many things that prove fruitful, 8 Faces\u2019 success was something of an accident, too. For a start, the magazine was never meant to be profitable; its only purpose at all was to scratch my own itch. Then, after the first issue took off and I realized how much time I needed to spend in order to make the next one decent, it became clear that I would have to cover more than just the production costs: I\u2019d have to take time out from client work as well. Doing this meant I\u2019d have to earn some money. Probably not enough to equate to the exact amount of time lost when I could be doing client work (not that you could ever describe time as being lost when you work on something you love), but enough to survive; for me to feel that I was getting paid while doing all of the work that 8 Faces entailed. The answer was to raise money through partnerships with some cool companies who were happy to be associated with my little project.\n\nA sustainable business model\n\nBusiness model! I can\u2019t believe I just wrote those words! But a business model is really just a loose plan for how not to screw up. And all that stuff I wrote in the paragraph above about partnering with companies so I could get some money in while I put the magazine together? Well, that\u2019s my business model. \n\nIf you\u2019re making any product that has some sort of production cost, whether that\u2019s physical print run expenses or up-front dev work to get an app built, covering those costs before you even release your product means that you\u2019ll be in profit from the first copy you sell. This is no small point: production expenses are pretty much the only cost you\u2019ll ever need to recoup, so having them covered before you launch anything is pretty much the best possible position in which you could place yourself. Happy days, as Jamie Oliver would say.\n\nObtaining these initial funds through partnerships has another benefit. Sure, it\u2019s a form of advertising but, done right, your partners can potentially provide you with great content, too. In the case of 8 Faces, the ads look as nice as the rest of the magazine, and a couple of our partners also provide proper articles: genuinely meaningful, relevant, reader-pleasing articles at that. You\u2019d be amazed at how many companies are willing to become partners and, as the old adage goes, if you don\u2019t ask, you don\u2019t get.\n\nWith profit comes responsibility\n\nDon\u2019t forget about the responsibility you have to your audience if you engage in a relationship with a partner or any type of advertiser: although I may have freely admitted my capitalist leanings, I\u2019m still essentially a hairy hippy, and I feel that any partnership should be good for me as a publisher, good for the partner and \u2014 most importantly \u2014 good for the reader. Really, the key word here is relevance, and that\u2019s where 99.9% of advertising fails abysmally. \n\n(99.9% is not a scientific figure, but you know what I\u2019m on about.)\n\nThe main grey area when a side project becomes profitable is how you share that profit, partly because \u2014 in my opinion, at least \u2014 the transition from non-profitable side project to relatively successful source of income can be a little blurred. Asking for help for nothing when there\u2019s no money to be had is pretty normal, but sometimes it\u2019s easy to get used to that free help even once you start making money. I believe the best approach is to ask for help with the promise that it will always be rewarded as soon as there\u2019s money available. (Oh, god: this sounds like one of those nightmarish client proposals. It\u2019s not, honest.) If you\u2019re making something cool, people won\u2019t mind helping out while you find your feet.\n\nEvents often think that they\u2019re exempt from sharing profit. Perhaps that\u2019s because many event organizers think they\u2019re doing the speakers a favour rather than the other way around (that\u2019s a whole separate article), but it\u2019s shocking to see how many people seem to think they can profit from content-makers \u2014 speakers, for example \u2014 and yet not pay for that content. It was for this reason that Keir and I paid all of our speakers for our Insites: The Tour side project, which we ran back in July. We probably could\u2019ve got away without paying them, especially as the gig was so informal, but it was the right thing to do.\n\nIn conclusion: money as a by-product\n\nLet\u2019s conclude by returning to the slightly problematic nature of money, because it\u2019s the pivot on which your side project\u2019s success can swing, regardless of whether you measure success by monetary gain. I would argue that success has nothing to do with profit \u2014 it\u2019s about you being able to spend the time you want on the project. Unfortunately, that is almost always linked to money: money to pay yourself while you work on your dream idea; money to pay for more servers when your web app hits the big time; money to pay for efforts to get the word out there. The key, then, is to judge success on your own terms, and seek to generate as much money as you see fit, whether it\u2019s purely to cover your running costs, or enough to buy a small country. There\u2019s nothing wrong with profit, as long as you\u2019re ethical about it. (Pro tip: if you\u2019ve earned enough to buy a small country, you\u2019ve probably been unethical along the way.)\n\nThe point at which individuals and companies fail \u2014 in the moral sense, for sure, but often in the competitive sense, too \u2014 is when money is the primary motivation. It should never be the primary motivation. If you\u2019re not passionate enough about something to do it as an unprofitable side project, you shouldn\u2019t be doing it all. \n\nEarning money should be a by-product of doing what you love. And who doesn\u2019t want to spend their life doing what they love?", "year": "2011", "author": "Elliot Jay Stocks", "author_slug": "elliotjaystocks", "published": "2011-12-22T00:00:00+00:00", "url": "https://24ways.org/2011/from-side-project-to-not-so-side-project/", "topic": "business"}
{"rowid": 282, "title": "Front-end Style Guides", "contents": "We all know that feeling: some time after we launch a site, new designers and developers come in and make adjustments. They add styles that don\u2019t fit with the content, use typefaces that make us cringe, or chuck in bloated code. But if we didn\u2019t leave behind any documentation, we can\u2019t really blame them for messing up our hard work.\n\nTo counter this problem, graphic designers are often commissioned to produce style guides as part of a rebranding project. A style guide provides details such as how much white space should surround a logo, which typefaces and colours a brand uses, along with when and where it is appropriate to use them.\n\nDesign guidelines\n\nSome design guidelines focus on visual branding and identity. The UK National Health Service (NHS) refer to theirs as \u201cbrand guidelines\u201d. They help any designer create something such as a trustworthy leaflet for an NHS doctor\u2019s surgery. Similarly, Transport for London\u2019s \u201cdesign standards\u201d ensure the correct logos and typefaces are used in communications, and that they comply with the Disability Discrimination Act.\n\nSome guidelines go further, encompassing a whole experience, from the visual branding to the messaging, and the icon sets used. The BBC calls its guidelines a \u201cGlobal Experience Language\u201d or GEL. It\u2019s essential for maintaining coherence across multiple sites under the same BBC brand.\n\n\nThe BBC\u2019s Global Experience Language.\n\nDesign guidelines may be brief and loose to promote creativity, like Mozilla\u2019s \u201cbrand toolkit\u201d, or be precise and run to many pages to encourage greater conformity, such as Apple\u2019s \u201cHuman Interface Guidelines\u201d.\n\nWhatever name or form they\u2019re given, documenting reusable styles is invaluable when maintaining a brand identity over time, particularly when more than one person (who may not be a designer) is producing material.\n\nCode standards documents\n\nWe can make a similar argument for code. For example, in open source projects, where hundreds of developers are submitting code, it makes sense to set some standards. Drupal and Wordpress have written standards that make editing code less confusing for users, and more maintainable for contributors.\n\nEach community has nuances: Drupal requests that developers indent with two spaces, while Wordpress stipulates a tab. Whatever the rules, good code standards documents also explain why they make their recommendations.\n\nThe front-end developer\u2019s style guide\n\nDesign style guides and code standards documents have been a successful way of ensuring brand and code consistency, but in between the code and the design examples, web-based style guides are emerging. These are maintained by front-end developers, and are more dynamic than visual design guidelines, documenting every component and its code on the site in one place.\n\nHere are a few examples I\u2019ve seen in the wild:\n\nNatalie Downe\u2019s pattern portfolio\n\nNatalie created the pattern portfolio system while working at Clearleft. The phrase describes a single HTML page containing all the site\u2019s components and styles that can act as a deliverable.\n\n\nPattern portfolio by Natalie Downe for St Paul\u2019s School, kept up to date when new components are added. The entire page is about four times the length shown.\n\nEach different item within a pattern portfolio is a building block or module. The components are decoupled from the layout, and linearized so they can slot into anywhere on a page.\n\n\n\tThe pattern portfolio expresses every component and layout structure in the smallest number of documents. It sets out how the markup and CSS should be, and is used to illustrate the project\u2019s shared vocabulary.\n\n\tNatalie Downe\n\n\nBy developing a system, rather than individual pages, the result is flexible when the client wants to add more pages later on.\n\nPaul Lloyd\u2019s style guide\n\nPaul Lloyd has written an extremely comprehensive style guide for his site. Not only does it feature every plausible element, but it also explains in detail when it\u2019s appropriate to use each one.\n\n\nPaul\u2019s style guide is also great educational material for people learning to write code.\n\nOli Studholme\u2019s style guide\n\nEven though Oli\u2019s style guide is specific to his site, he\u2019s written it as though it\u2019s for someone else. It\u2019s exhaustive and gives justifications for all his decisions. In some places, he links to browser bug tickets and makes recommendations for cross-browser compatibility.\n\n\nOli has released his style guide under a Creative Commons Attribution Share-alike license, and encourages others to create their own versions.\n\nJeremy Keith\u2019s pattern primer\n\nFront-end style guides may have comments written in the code, annotations that appear on the page, or they may list components alongside their code, like Jeremy\u2019s pattern primer.\n\n\nYou can watch or fork Jeremy\u2019s pattern primer on Github.\n\n\n\nLinearizing components like this resembles a kind of mobile first approach to development, which Jeremy talks about on the 5by5 podcast: The Web Ahead 3.\n\nThe benefits of maintaining a front-end style guide\n\nIf you still need convincing that producing documentation like this for every project is worth the effort, here are a few nice side-effects to working this way:\n\nEasier to test\n\nA unified style guide makes it easier to spot where your design breaks. It\u2019s simple to check how components adapt to different screen widths, test for browser bugs and develop print style sheets when everything is on the same page. When I worked with Natalie, she\u2019d resize the browser window and bump the text size up and down during development to see if anything would break.\n\nBetter workflow\n\nThe approach also forces you to think how something works in relation to the whole site, rather than just a specific page, making it easier to add more pages later on. Starting development by creating a style guide makes a lot more sense than developing on a page-by-page basis.\n\nShared vocabulary\n\nNatalie\u2019s pattern portfolio in particular creates a shared vocabulary of names for components (teaser, global navigation, carousel\u2026), so a team can refer to different regions of the site and have a shared understanding of its meaning.\n\nUseful reference\n\nA combined style guide also helps designers and writers to see the elements that will be incorporated in the site and, therefore, which need to be designed or populated. A boilerplate list of components for every project can act as a reminder of things that may get missed in the design, such as button states or error messages. \n\nCreating your front-end style guide\n\nAs you\u2019ve seen, there are plenty of variations on the web style guide. Which method is best depends on your project and workflow. Let\u2019s say you want to show your content team how blockquotes and asides look, when it\u2019s appropriate to use them, and how to create them within the CMS. In this case, a combination of Jeremy\u2019s pattern primer and Paul\u2019s descriptive style guide \u2013 with the styled component alongside a code snippet and a description of when to use it \u2013 may be ideal. \n\nStart work on your style guide as soon as you can, preferably during the design stage:\n\n\n\tSimply presenting flat image comps is by no means enough\u2009-\u2009it\u2019s only the start\u2026 As layouts become more adaptable, flexible and context-specific, so individual components will become the focus of our design. It is therefore essential to get the foundational aspects of our designs right, and style guides allow us to do that.\n\n\tPaul Lloyd on Style guides for the Web \n\n\n\n\tPrint out the designs and label the unique elements and components you\u2019ll need to add to your style guide. Make a note of the purpose of each component. While you\u2019re doing this, identify the main colours used for things like links, headings and buttons.\nI draw over the print-outs on to tracing paper so I can make more annotations. Here, I\u2019ve started annotating the widths from the designer\u2019s mockup so I can translate these into percentages.\n\tStart developing your style guide with base styles that target core elements: headings, links, tables, blockquotes, ordered lists, unordered lists and forms. For these elements, you could maintain a standard document to reuse for every project.\n\tNext, add the components that override the base styles, like search boxes, breadcrumbs, feedback messages and blog comments. Include interaction styles, such as hover, focus and visited state on links, and hover, focus and active states on buttons.\n\tNow start adding layout and begin slotting the components into place. You may want to present each layout as a separate document, or you could have them all on the same page stacked beneath one another.\n\n\nDocument code practices\n\nCode can look messy when people use different conventions, so note down a standard approach alongside your style guide. For example, Paul Stanton has documented how he writes CSS.\n\nThe gift wrapping\n\nPresenting this documentation to your client may be a little overwhelming so, to be really helpful, create a simple page that links together all your files and explains what each of them do.\n\n\nThis is an example of a contents page that Clearleft produce for their clients. They\u2019ve added date stamps, subversion revision numbers and written notes for each file.\n\nEncourage participation\n\nThere\u2019s always a risk that the person you\u2019re writing the style guide for will ignore it completely, so make your documentation as user-friendly as possible. Justify why you do things a certain way to make it more approachable and encourage similar behaviour.\n\nAs always, good communication helps. Working with the designer to put together this document will improve the site. It\u2019s often not practical for designers to provide a style for everything, so drafting a web style guide and asking for feedback gives designers a chance to make sure any default styles fit in.\n\nIf you work in a team with other developers, documenting your code and development decisions will not only be useful as a deliverable, but will also force you to think about why you do things a certain way.\n\nFuture-friendly\n\nThe roles of designer and developer are increasingly blurred, yet all too often we work in isolation. Working side-by-side with designers on web style guides can vastly improve the quality of our work, and the collaborative approach can spark discussions like \u201chow would this work on a smaller screen?\u201d\n\nSometimes we can be so focused on getting the site ready and live, that we lose sight of what happens after it\u2019s launched, and how it\u2019s going to be maintained. A simple web style guide can make all the difference.\n\nIf you make your own style guide, I\u2019d love to add it to my stash of examples so please share a link to it in the comments.", "year": "2011", "author": "Anna Debenham", "author_slug": "annadebenham", "published": "2011-12-07T00:00:00+00:00", "url": "https://24ways.org/2011/front-end-style-guides/", "topic": "process"}
{"rowid": 268, "title": "Getting the Most Out of Google Analytics", "contents": "Something a bit different for today\u2019s 24 ways article. For starters, I\u2019m not a designer or a developer. I\u2019m an evil man who sells things to people on the internet. Second, this article will likely be a little more nebulous than you\u2019re used to, since it covers quite a number of points in a relatively short space. \n\nThis isn\u2019t going to be the complete Google Analytics Conversion University IQ course compressed into a single article, obviously. What it will be, however, is a primer on setting up and using Google Analytics in real life, and a great deal of what I\u2019ve learned using Google Analytics nearly every working day for the past six (crikey!) years.\n\nAlso, to be clear, I\u2019ll be referencing new Google Analytics here; old Google Analytics is for loooosers (and those who want reliable e-commerce conversion data per site search term, natch).\n\nYou may have been running your Analytics account for several years now, dipping in and out, checking traffic levels, seeing what\u2019s popular\u2026 and that\u2019s about it. Google Analytics provides so much more than that, but the number of reports available can often intimidate users, and documentation and case studies on their use are minimal at best. \n\nLet\u2019s start! Setting up your Analytics profile\n\nBefore we plough on, I just want to run through a quick checklist that some basic settings have been enabled for your profile. If you haven\u2019t clicked it, click the big cog on the top-right of Google Analytics and we\u2019ll have a poke about.\n\n\n\tIf you have an e-commerce site, e-commerce tracking has been enabled\u2028\n\tIf your site has a search function, site search tracking has been enabled.\n\tQuery string parameters that you do not want tracked as separate pages have been excluded (for example, any parameters needed for your platform to function, otherwise you\u2019ll get multiple entries for the same page appearing in your reports)\n\tFilters have been enabled on your main profile to exclude your office IP address and any IPs of people who frequently access the site for work purposes. In decent numbers they tend to throw data off a tad.\u2028\n\tYou may also find the need to set up multiple profiles prefiltered for specific audience segments. For example, at Lovehoney we have seventeen separate profiles that allow me quick access to certain countries, devices and traffic sources without having to segment first. You\u2019ll also find load time for any complex reports much improved. Use the same filter screen as above to set up a series of profiles that only include, say, mobile visits, or UK visitors, so you can quickly analyse important segments.\n\n\nMatt, what\u2019s a segment?\n\nA segment is a subsection of your visitor base, which you define and then call on in reports to see specific data for that subsection. For example, in this report I\u2019ve defined two segments, the first for IE6 users and the second for IE7.\n\n\n\nSegments are easily created by clicking the Advanced Segments tabs at the top of any report and clicking +New Custom Segment.\n\n\n\nWhat does your site do?\n\nUnderstanding the goals of your site is an oft-covered topic, but it\u2019s necessary not just to form a better understand of your business and prioritize your time. Understanding what you wish visitors to do on your site translates well into a goal-driven analytics package like Google Analytics.  \n\nEvery site exists essentially to sell something, either financially through e-commerce, or to sell an idea or impart information, get people to download a CV or enquire about service, or to sell space on that website to advertisers. If the site did not provide a positive benefit to its owners, it would not have a reason for being. \n\nOnce you have understood the reason why you have a site, you can map that reason on to one of the three goal types Google Analytics provides. \n\nE-commerce \n\nThis conversion type registers transactions as part of a sales process which requires a monetary value, what products have been bought, an SKU (stock keeping unit), affiliation (if you\u2019re then attributing the sale to a third party or franchise) and so on.\n\nThe benefit of e-commerce tracking is not only assigning non-arbitrary monetary value to behaviour of visitors on your site, as well as being able to see ancillary costs such as shipping, but seeing product-level information, like which products are preferred from various channels, popular categories, and so on.\n\n\n\nHowever, I find the e-commerce tracking options also useful for non-e-commerce sites. For example, if you\u2019re offering downloads or subscriptions and having an email address or user\u2019s details is worth something to you, you can set up e-commerce tracking to understand how much value your site is bringing. For example, an email address might be worth 20p to you, but if it also includes a name it\u2019s worth 50p. A contact telephone number is worth \u00a32, and so on.\n\nPage goals\n\nPage goals, unsurprisingly, track a visit to a page (often with a sequence of pages leading up to that page). This is what\u2019s referred to as a goal funnel, and is generally used to track how visitors behave in a multistep checkout. \n\n\n\nInterestingly, the page doesn\u2019t have to actually exist. For example, if you have a single page checkout, you can register virtual page views using trackPageview() when a visitor clicks into a particular section of the checkout or other form. If your site is geared towards getting someone to a particular page, but where there isn\u2019t a transaction (for example, a subscription page) this is for you.\n\nThere are also behavioural goals, such as time on site and number of pages viewed, which are geared towards sites that make money from advertising.\n\nBut, going back to the page goals, these can be abstracted using regular expressions, meaning that you can define a funnel based on page type rather than having to set individual folders.\n\n\n\nIn this example, I\u2019ve created regexes for the main page types on my site, so I can create a wide funnel that captures visitors from where they enter through to checkout.\n\nEvents\n\nEvent tracking registers a predefined event, such as playing a video, or some interaction that can trigger JavaScript, such as a Tweet This button. Events can then be triggered using the trackEvent() call. If you want someone to complete watching a video, you would code your player to fire trackEvent() upon completion. \n\nWhile I don\u2019t use events as goals, I use events elsewhere to see how well a video play aids to conversion. This not only helps me justify the additional spend on creating video content, but also quickly highlights which videos are underperforming as sales tools.\n\n\n\nWhat a visitor can tell you\n\n\u2028Now you have some proper goals set up, we can start to see how changes in content (on-site and external) affect those goals. \n\nUltimately, when a visitor comes to your site, they bring information with them:\n\n\n\twhere they came from (a search engine \u2013 including: keyword searched for; a referral; direct; affiliate; or ad campaign)\n\tdemographics (country; whether they\u2019re new or returning, within thirty days)\n\ttechnical information (browser; screen size; device; bandwidth)\n\tsite-specific information (landing page; next click; previous values assigned to them as custom variables*)\n\n\n * A note about custom variables. There\u2019s no hope in hell that I can cover custom variables in this article. Go research them. Custom variables are the single best way to hack Google Analytics and bend it to your will. Custom variables allow you to record anything you want about a visitor, which that visitor will then carry around with them between visits. It\u2019s also great for plugging other services into Google Analytics (as shown by the marvelous way Visual Website Optimizer allows you to track and segment tests within the GA interface). Just make sure not to breach the terms of service, eh?\n\nCSI your website\n\nPolice procedural TV shows are all the same: the investigators are called to a crime and come across a clue; there\u2019s then an autopsy; new evidence leads them to a new location; they find a new clue; they put two and two together; they solve the mystery.\n\nThis is your life now. Exciting!\n\nSo, now you\u2019re gathering a wealth of information about what sort of people visit your site, what they do when they\u2019re there, and what eventually gets them to drive value to you. It\u2019s now your job to investigate all these little clues to see which types of people drive the most value, and what you can change to improve it.\n\nMaybe not that exciting.\n\nHowever, Google Analytics comes pre-armed with extensive reports for you to delve into. As an e-commerce guy (as opposed to a page goal guy) my day pretty much follows the pattern below.\n\n\n\tLook at e-commerce conversion rate by traffic source compared to the same day in the previous week and previous month. As ours is an e-commerce site, we have weekly and monthly trends. A big spike on Sundays and Mondays, and payday towards the end of the month is always good; on the third week of a month there tends to be a lull. Spend time letting your Google Analytics data brew, understand your own trends and patterns, and you\u2019ll start to get a feel for when something isn\u2019t quite right.\n\t\n\t\tTraffic Sources \u2192 Sources \u2192 All Traffic\n\t\n\tLook at the conversion rate by landing page for any traffic source that feels significantly different to what\u2019s expected. Check bounce rates, drill down to likely landing pages and check search keyword or referral site to see if it\u2019s a particular subset of visitor. You can do this by clicking Secondary Dimension and choosing Keyword or Source. If it\u2019s direct, choose Visitor Type to break down by new or returning visitor.\n\t\n\t\tContent \u2192 Site Content \u2192 Landing Pages\n\t\n\tI then tend to flip into Content Drilldown to see what the next clicks were from those landing pages, and whether they changed significantly to the date I\u2019m comparing with. If they have, that\u2019s usually an indicator of changed content (or its relevancy). Remember, if a bunch of people have found their way to your page via a method you\u2019re not expecting (such as a mention on a Spanish radio station \u2013 this actually happened to me once), while the content hasn\u2019t changed, the relevancy of it to the audience may have.\n\t\n\t\tContent \u2192 Site Content \u2192 Content Drilldown\n\t\n\tOnce I have an idea of what content was consumed, and whether it was relevant to the user, I then look at the visitor specifics, such as browser or demographic data, to see again whether the change was limited to a specific subset. Site speed, for example, is normally a good factor towards bounce rate, so compare that with previous data as well.\n\n\nNow, to be investigating at this level you still need a serious amount of data, in order to tell what\u2019s a significant change or not. If you\u2019re struggling with a small number of visitors, you might find reporting on a weekly or fortnightly basis more appropriate. \n\nHowever, once you\u2019ve looked into the basics of why changes happen to the value of your site, you\u2019ll soon find yourself limited by the reports offered in Standard Reporting. So, it\u2019s time to build your own. Hooray!\n\nCustom reporting\n\nGoogle Analytics provides the tools to build reports specific to the types of investigations you frequently perform. \n\n\n\nWelcome to my world.\n\nCustom reports are quite simple to build: first, you determine the metric you want the report to cover (number of visitors, bounce rate, conversion rate, and so on), then choose a set of dimensions that you\u2019d like to segment the report by (say, the source of the traffic, and whether they were new or returning users). You can filter the report, including or excluding particular dimension values, and you can assign the report to any of the profiles you created earlier. \n\nIn the example below, I\u2019ve created a report that shows me visits and conversion rate for any Google traffic that landed directly only on a product page. I can then drill down on each product page to see the complete phrases use to search. I can use this information in two ways:\n\n\n\tI can see which products aren\u2019t converting, which shows me where I need to work harder on merchandising.\n\tI can give this information to my content team, showing them the actual phrases visitors used to reach our product content, helping them write better targeted product descriptions.\n\n\n\n\nThe possibilities here are nearly endless, but here are a few examples of reports I find useful:\n\n\n\tNon-brand inbound search\nBy creating a report that shows inbound search traffic which doesn\u2019t include your brand, you can see more clearly the behaviour of visitors most likely to be unfamiliar with your site and brand values, without having to rely on the clumsy new or returning demographic date.\n\tTraffic/conversion/sales by hour\nThis is pure stats porn, but actually more useful than real-time data. By seeing this data broken down at an hourly level, you can not only compare the current day to previous days, but also see the best performing times for email broadcasts and tweets.\n\tVisits, load time, conversion and sales by page and browser\nPage speed can often kill conversion rates, but it\u2019s difficult to prove the value of focusing on speed in monetary terms. Having this report to hand helps me drive Operation Greenbelt, our effort to get into the sub-1.5 second band in Google Webmaster Tools.\n\n\nUseful things you can\u2019t do in custom reporting\n\nIf you have a search function on your website, then Conversion Rate and Products Bought by Site Search Term is an incredibly useful report that allows you to measure the effectiveness of your site\u2019s search engine at returning products and content related to the search term used. By including the products actually bought by visitors who searched for each term, you can use this information to better searchandise these results, escalating high propensity and high value products to the top of the results.\n\nHowever, it\u2019s not possible to get this information out of new Google Analytics. \n\nTry it, select the following in the report builder:\n\n\n\tMetrics: total unique searches; e-commerce or goal conversion rate\n\tDimensions: search term; product\n\n\nYou\u2019ll see that the data returned is a little nonsensical, though a 2,000% conversion rate would be nice. However, you can get more accurate information using advanced segments. By creating individual segments to define users who have searched for a particular term, you can run the sales performance and product performance reports as normal. It\u2019s laborious, but it teaches a good lesson: data that seems inaccessible can normally be found another way!\n\nReporting infrastructure\n\nNow that you have a series of reports that you can refer to on a daily or weekly basis, it\u2019s time to put together a regular reporting infrastructure. \n\nEven if you\u2019re not reporting to someone, having a set of key performance indicators that you can use to see how your performance is improving over time allows you to set yourself business goals on a monthly and annual basis.\n\nFor my own reporting, I take some high-level metrics (such as visitors, conversion rate and average order value), and segment them by traffic source and, separately, landing page. These statistics I record weekly and report:\n\n\n\tcurrent week compared with previous week\n\tsame week previous year (if available)\n\t4 week average\n\t13 week average\n\t52 week average (if available)\n\n\nThis takes into account weekly, monthly, seasonal and annual trends, and gives you a much clearer view of your performance.\n\nGetting data in other ways\n\nIf you\u2019re using Google Analytics frequently, with any large site you\u2019ll come to a couple of conclusions:\n\n\n\tDoing any kind of practical comparative analysis is unwieldy.\n\tBoy, Google Analytics is slow!\n\n\nAs you work with bigger datasets and put together more complex queries, you\u2019ll see the loading graphic more than you\u2019ll see actual data. So when you reach that level, there are ways to completely bypass the Google Analytics interface altogether, and get data into your own spreadsheet application for manipulation.\n\nData Feed Query Explorer\n\nIf you just want to pull down some quick statistics but still use complex filters and exotic metric and dimension combinations, the Data Feed Query Explorer is the quickest way of doing so. Authenticate with your Google Analytics account, select a profile, and you can start selecting metrics and dimensions to be generated in a handy, selectable tabulated format.\n\nGoogle Analytics API\n\nIf you\u2019re feeling clever, you can bypass having to copy and paste data by pulling in directly into Excel, Google Docs or your own application using the Google Analytics API. There are several scripts and plugins available to do this. I use Automate Analytics Google Docs code (there\u2019s also a paid version that simplifies setup and creates some handy reports for you).\n\nNew shiny things\n\nWell, now that that\u2019s over, I can show you some cool stuff. Well, at least it\u2019s cool to me. Google Analytics is being constantly improved and new functionality is introduced nearly every month. Here are a couple of my favourites.\n\nMultichannel attribution\n\nNot every visitor converts on your site on the first visit. They may not even do so on the second visit, or third. If they convert on the fourth visit, but each time they visit they do so via a different channel (for example, Search PPC, Search Organic, Direct, Email), which channel do you attribute the conversion to? The last channel, or the first? Dilemma!  \n\nGoogle now has a Multichannel Attribution report, available in the Conversion category, which shows how each channel assists in converting, the overlap between channels, and where in the process that channel was important. \n\n\n\nFor example, you may have analysed your blog traffic from Twitter and become disheartened that not many people were subscribing after visiting from Twitter links, but instead your high-value subscribers were coming from natural search. On the face of it, you\u2019d spend less time tweeting, but a multichannel report may tell you that visitors first arrived via a Twitter link and didn\u2019t subscribe, but then came back later after searching for your blog name on Google, after which they did. Don\u2019t pack Twitter in yet!\n\nVisitor and goal flow\n\nVisitor and goal flow are amazing reports that help you visualize the flow of traffic through your site and, ultimately, into your checkout funnel or similar goal path. Flow reports are perfect for understanding drop-off points in your process, as well as what the big draws are on each page. \n\n\n\nPreviously, if you wanted to visualize this data you had to set up several abstracted microgoals and chain them together in custom reports. Frankly, it was a pain in the arse and burned through your precious and limited goal allocation.\n\nVisitor flow bypasses all that and produces the report in an interactive flow diagram. While it doesn\u2019t show you the holy grail of conversion likelihood by each path, you can segment visitor flow so that you can see very specifically how different segments of your visitor base behave.\n\nGo play with it now!", "year": "2011", "author": "Matt Curry", "author_slug": "mattcurry", "published": "2011-12-18T00:00:00+00:00", "url": "https://24ways.org/2011/getting-the-most-out-of-google-analytics/", "topic": "business"}
{"rowid": 278, "title": "Going Both Ways", "contents": "It\u2019s that time of the year again: Santa is getting ready to travel the world. Up until now, girls and boys from all over have sent in letters asking for what they want. I hope that Santa and his elves have\u2014unlike me\u2014learned more than just English.\n\nOn the Internet, those girls and boys want to participate in sharing their stories and videos of opening presents and of being with friends and family. Ah, yes, the wonders of user generated content. But more than that, people also want to be able to use sites in the language they know.\n\nWhile you and I might expect the text to read from left to right, not all languages do. Some go from right to left, such as Arabic and Hebrew. (Some also go from top to bottom, but for now, let\u2019s just worry about those first two directions!)\n\nIf we were building a site for girls and boys to send their letters to Santa, we need to consider having the interface in the language and direction that they prefer. On the elves\u2019 side, they may be viewing the site in one direction but reading the user generated content in the other direction. We need to build a site that supports bidirectional (or bidi) text.\n\nLet\u2019s take a look at some things to be aware of when it comes to building bidi interfaces.\n\nSetting the direction of the interface\n\nRight off the bat, we need to tell the browser what direction the text should be going in. To do this, we add the dir attribute to an HTML element and set it to either LTR (for left to right) or RTL (for right to left).\n\n<body dir=\"rtl\">\n\nYou can add the dir attribute to any element and it will set or change the direction for the content within that element. \n\n<body dir=\"ltr\">\n   Here is English Content.\n   <div dir=\"rtl\">\u0627\u0644\u0645\u0648\u0636\u0648\u0639</div>\n</body>\n\nYou can also set the direction via CSS.\n\n.rtl {\n    direction: rtl;\n    }\n\nIt\u2019s generally recommended that you don\u2019t use CSS to set the direction of the text. Text direction is an important part of the content that should be retained even in environments where the CSS may not be available or fails to load.\n\nHow things change with the direction attribute\n\nJust adding the dir attribute tells the browser to render the content within it differently. \n\n\n\nThe text aligns to the right of the page and, interestingly, punctuation appears at the left of the sentence. (We\u2019ll get to that in a little bit.) \n\nScrollbars in most browsers will appear on the left instead of the right. Webkit is the notable exception here which always shows the scrollbar on the right, no matter what the text direction is. Avoid having a design that has an expectation that the scrollbar will be in a specific place (and a specific size).\n\nChanging the order of text mid-way\n\nAs we saw in that previous example, the punctuation appeared at the beginning of the sentence instead of the end, even though the text was English. At Yahoo!, we have an interesting dilemma where the company name has punctuation in it. Therefore, when the name appears in the middle of (for example) Arabic text, the exclamation mark appears at the beginning of the word instead of the end.\n\n\n\nThere are two ways in which this problem can be solved:\n\n1. Use HTML around the left-to-right content, or\n\nTo solve the problem of the Yahoo! name in the midst of Arabic text, we can wrap a span around it and change the direction on that element.\n\n\n\n2. Use a text direction mark in the content.\n\nUnicode has two marks, U+200E and U+200F, that tell the browser that the text is in a particular direction. Placing this right after the punctuation will correct the placement.\n\nUsing the HTML entity:\nYahoo!\u200e\n\nTables\n\nThankfully, the cells of a data table also get reordered from right to left. Equally as nice, if you\u2019re using display:table, the content will still get reordered.\n\n\n\nCSS\n\nSo far, we\u2019ve seen that the dir attribute does a pretty decent job of getting content flowing in the direction that we need it. Unfortunately, there are huge swaths of design that is handled by CSS that the handy dir attribute has zero effect over.\n\nMany properties, like float or absolute positioning with left and right values, are unaffected and must be handled manually. Elements that were floated left must now by floated right. Left margins and paddings must now move to the right and the right margins and paddings must now move to the left.\n\nSince the browser won\u2019t handle this for us, we have a couple approaches that we can use:\n\nCSS Only\n\nWe can take advantage of the attribute selector to target CSS to apply in one direction or another.\n\n[dir=ltr] .module {\n\tfloat: left;\n\tmargin: 0 0 0 20px;\n}\n\n[dir=rtl] .module {\n\tfloat: right;\n\tmargin: 0 20px 0 0;\n}\n\nAs you can see from this example, both of the properties have been modified for the flipped interface. If your interface is rather complicated, you will have to create a lot of duplicate rules to have the site looking good in both directions while serving up a single stylesheet.\n\nCSSJanus\n\nGoogle has a tool called CSSJanus. It\u2019s a Python script that runs over the LTR versions of your CSS files and generates RTL versions. For the RTL version of the site, just serve up those CSS files instead of the LTR versions.\n\nThe script looks for keywords and value combinations and automatically swaps them so you don\u2019t have to. \n\nAt Yahoo!, CSSJanus was a huge help in speeding up our development of a bidi interface. We\u2019ve also made a number of improvements to the script to better handle border radius, background positioning, and gradients. We will be pushing those changes back into the CSSJanus project. \n\n\n\nBackground Images\n\nBackground images, especially for things like CSS sprites, also raise an interesting dilemma. Background images are positioned relative to the left of the element. In a flipped interface, however, we need to position it relative to the right. An icon that would be to the left of some text will now need to appear on the right.\n\n\n\nIf the x position of the background is percentage-based, then it\u2019s fairly easy to swap the values. 0 becomes 100%, 10% becomes 90% and so on. If the x position is pixel-based, then we\u2019re in a bit of a pickle. There\u2019s no way to say that the image should be a certain number of pixels from the right.\n\nTherefore, you\u2019ll need to ensure that any background image that needs to be swapped should be percentage-based. (99.9% of the the time, the background position will need to be 0 so that it can be changed to 100% for RTL.)\n\nIf you\u2019re taking an existing implementation, background positioning will likely be the biggest hurdle you\u2019ll have to overcome in swapping your interface around. If you make sure your x position is always percentage-based from the beginning, you\u2019ll have a much smoother process ahead of you!\n\nFlipping Images\n\nThis is a more subtle point and one where you\u2019ll really want an expert with the region to weigh in on. In RTL interfaces, users may expect certain icons to also be flipped. Pencil icons that skew to the right in LTR interfaces might need to be swapped to skew to the left, instead. Chat bubbles that come from the left will need to come from the right.\n\nThe easiest way to handle this is to create new images. Name the LTR versions with -ltr in the name and name the RTL versions with -rtl in the name. CSSJanus will automatically rename all file references from -ltr to -rtl.\n\nThe Future\n\nThankfully, those within the W3C recognize that CSS should be more agnostic. As a result, they\u2019ve begun introducing new properties that allow the browser to manage the swapping from left to right for us.\n\nThe CSS3 specification for backgrounds allows for the background-position to be relative to other corners other than the top left by specifying keywords before each position.\n\nThis will position the background 5px from the bottom right of the element.\n\nbackground-position: right 5px bottom 5px;\n\nOpera 11.60 is currently the only browser that supports this syntax.\n\nFor margin and padding, we have margin-start and margin-end. In LTR interfaces, margin-start would be the same as margin-left and in RTL interfaces, margin-start would be the same as margin-right. \n\nFirefox and Webkit support these but with vendor prefixes right now:\n\n-webkit-margin-start: 20px;\n-moz-margin-start: 20px;\n\nIn the CSS3 Images working draft specification, there\u2019s an image() property that allows us to specify image fallbacks and whether those fallbacks are for LTR or RTL interfaces.\n\nbackground: image('sprite.png' ltr, 'sprite-rtl.png' rtl);\n\nUnfortunately, no browser supports this yet but it\u2019s nice to be able to dream of how much easier this will be in the future!\n\nHo Ho Ho\n\nHopefully, after all of this, you\u2019re full of cheer knowing that you\u2019re well on your way to creating interfaces that can go both ways!", "year": "2011", "author": "Jonathan Snook", "author_slug": "jonathansnook", "published": "2011-12-19T00:00:00+00:00", "url": "https://24ways.org/2011/going-both-ways/", "topic": "ux"}
{"rowid": 281, "title": "Nine Things I've Learned", "contents": "I\u2019ve been a professional graphic designer for fourteen years and for just under four of those a professional web designer. Like most designers I\u2019ve learned a lot in my time, both from a design point of view and in business as freelance designer. A few of the things I\u2019ve learned stick out in my mind, so I thought I\u2019d share them with you. They\u2019re pretty random and in no particular order.\n\n1. Becoming the designer you want to be\n\nWhen I started out as a young graphic designer, I wanted to design posters and record sleeves, pretty much like every other young graphic designer. The problem is that the reality of the world means that when you get your first job you\u2019re designing the back of a paracetamol packet or something equally weird. I recently saw a tweet that went something like this: \u201cYou\u2019ll never become the designer you always dreamt of being by doing the work you never wanted to do\u201d. This is so true; to become the designer you want to be, you need to be designing the things you\u2019re passionate about designing. This probably this means working in the evenings and weekends for little or no money, but it\u2019s time well spent. Doing this will build up your portfolio with the work that really shows what you can do! Soon, someone will ask you to design something based on having seen this work. From this point, you\u2019re carving your own path in the direction of becoming the designer you always wanted to be.\n\n2. Compete on your own terms\n\nAs well as all being friends, we are also competitors. In order to win new work we need a selling point, preferably a unique selling point. Web design is a combination of design disciplines \u2013 user experience design, user interface Design, visual design, development, and so on. Some companies will sell themselves as UX specialists, which is fine, but everyone who designs a website from scratch does some sort of UX, so it\u2019s not really a unique selling point. Of course, some people do it better than others.\n\nOne area of web design that clients have a strong opinion on, and will judge you by, is visual design. It\u2019s an area in which it\u2019s definitely possible to have a unique selling point. Designing the visual aesthetic for a website is a combination of logical decision making and a certain amount of personal style. If you can create a unique visual style to your work, it can become a selling point that\u2019s unique to you.\n\n3. How much to charge and staying motivated\n\nWhen you\u2019re a freelance designer one of the hardest things to do is put a price on your work and skills. Finding the right amount to charge is a fine balance between supplying value to your customer and also charging enough to stay motivated to do a great job. It\u2019s always tempting to offer a low price to win work, but it\u2019s often not the best approach: not just for yourself but for the client as well.\n\nA client once asked me if I could reduce my fee by \u00a31,000 and still be motivated enough to do a good job. In this case the answer was yes, but it was the question that resonated with me. I realized I could use this as a gauge to help me price projects. Before I send out a quote I now always ask myself the question \u201cIs the amount I\u2019ve quoted enough to make me feel motivated to do my best on this project?\u201d I never send out a quote unless the answer is yes. In my mind there\u2019s no point in doing any project half-heartedly, as every project is an opportunity to build your reputation and expand your portfolio to show potential clients what you can do. Offering a client a good price but not being prepared to put everything you have into it, isn\u2019t value for money.  \n\n4. Supplying the right design\n\nWhen I started out as a graphic designer it seemed to be the done thing to supply clients with a ton of options for their logo or brochure designs. In a talk given by Dan Rubin, he mentioned that this was a legacy of agencies competing with each other in a bid to create the illusion of offering more value for money. Over the years, I\u2019ve realized that offering more than one solution makes no sense. The reason a client comes to you as a designer is because you\u2019re the person than can get it right. If I  were to supply three options, I\u2019d be knowingly offering my client at least two options that I didn\u2019t think worked.\n\nTo this day I still get asked how many homepage design options I\u2019ll supply for the quoted amount. The answer is one. Of course, I\u2019m more than happy to iterate upon the design to fine-tune it and, on the odd occasion, I do revisit a design concept if I just didn\u2019t nail the design first time around. Your time is much better spent refining the right design option than rushing out three substandard designs in the same amount of time.\n\n5. Colour is key\n\nThere are many contributing factors that go into making a good visual design, but one of the simplest ways to do this is through the use of colour. The colour palette used in a design can have such a profound effect on a visual design that it almost feels like you\u2019re cheating. It\u2019s easy to add more and more subtle shades of colour to add a sense of sophistication and complexity to a design, but it dilutes the overall visual impact. When I design, I almost have a rule that only allows me to use a very limited colour palette. I don\u2019t always stick to it, but it\u2019s always in mind and something I\u2019m constantly reviewing through my design process.\n\n6. Creative thinking is central to good or boundary-pushing web design\n\nWhen we think of creativity in web design we often link this to the visual design, as there is an obvious opportunity to be creative in this area if the brief allows it. Something that I\u2019ve learnt in my time as a web designer is that there\u2019s a massive need for creative thinking in the more technical aspects of web design. The tools we use for building websites are there to be manipulated and used in creative ways to design exciting and engaging user experiences. Great developers are constantly using their creativity to push the boundaries of what can be done with CSS, jQuery and JavaScript. \n\nBeing creative and creative thinking are things we should embrace as an industry and they are qualities that can be found in anyone, whether they be a visual designer or Rails developer.\n\n7. Creative block: don\u2019t be afraid to get things wrong\n\nCreative block can be a killer when designing. It\u2019s often applied to visual design, which is more subjective. I suffer from creative block on a regular basis. It\u2019s hugely frustrating and can screw up your schedule. Having thought about what creative block actually is, I\u2019ve come to the conclusion that it\u2019s actually more of a lack of direction than a lack of ideas. You have ideas and solutions in mind but don\u2019t feel committed to any of them. You\u2019re scared that whatever direction you take, it\u2019ll turn out to be wrong. I\u2019ve found that the best remedy for this is to work through this barrier. It\u2019s a bit like designing with a blindfold on \u2013 you don\u2019t really know where you\u2019re going. If you stick to your guns and keep pressing forward I find that, nine times out of ten, this process leads to a solution. As the page begins to fill, the direction you\u2019re looking for slowly begins to take shape.\n\n8. You get better at designing by designing\n\nI often get emails asking me what books someone can read to help them become a better designer. There are a lot of good books on subjects like HTML5, CSS, responsive web design and the like, that will really help improve anyone\u2019s web design skills. But, when it comes to visual design, the best way to get better is to design as much as possible. You can\u2019t follow instructions for these things because design isn\u2019t following instructions. A large part of web design is definitely applying a set of widely held conventions, but there\u2019s another part to it that is invention and the only way to get better at this is to do it as much as possible.\n\n9. Self-belief is overrated\n\nThroughout our lives we\u2019re told to have self-belief. Self-belief and confidence in what we do, whatever that may be. The problem is that some people find it easier than others to believe in themselves. I\u2019ve spent years trying to convince myself to believe in what I do but have always found it difficult to have complete confidence in my design skills. Self-doubt always creeps in.\n\nI\u2019ve realized that it\u2019s ok to doubt myself and I think it might even be a good thing!  I\u2019ve realized that it\u2019s my self-doubt that propels me forward and makes me work harder to achieve the best results. The reason I\u2019m sharing this is because I know I\u2019m not the only designer that feels this way. You can spend a lot of time fighting self-doubt only to discover that it\u2019s your body\u2019s natural mechanism to help you do the best job possible.", "year": "2011", "author": "Mike Kus", "author_slug": "mikekus", "published": "2011-12-11T00:00:00+00:00", "url": "https://24ways.org/2011/nine-things-ive-learned/", "topic": "business"}
{"rowid": 277, "title": "Raising the Bar on Mobile", "contents": "One of the primary challenges of designing for mobile devices is that screen real estate is often in limited supply. Through the advocacy of Luke W and others, we\u2019ve drawn comfort from the idea that this constraint ends up benefiting users and designers alike, from obvious advantages like portability and reach, to influencing our content strategy decisions through focus and restraint. But that doesn\u2019t mean we shouldn\u2019t take advantage of every last pixel of that screen we can snag!\n\nAs anyone who has designed a website for use on a smartphone can attest, there\u2019s an awful lot of space on mobile screens dedicated to browser functions that would be better off toggled out of view. Unfortunately, the visibility of some of these elements is beyond our control, such as the buttons fixed to the bottom of the viewport in iOS\u2019s Safari and the WebOS browser. However, in many devices, the address bar at the top can be manually hidden, and its absence frees up enough pixel room for a large, impactful heading, a critical piece of navigation, or even just a little more white space to air things out.\n\nSo, as my humble contribution to this most festive of web publications, today I\u2019ll dig into the approach I used to hide the address bar in a browser-agnostic fashion for sites like BostonGlobe.com, and the jQuery Mobile framework.\n\nSurveying the land\n\nFirst, let\u2019s assess the chromes of some popular, current mobile browsers. For example purposes, the following screen-captures feature the homepage of the Boston Globe site, without any address-bar-hiding logic in place.\n\nNote: these captures are just mockups \u2013 actual experience on these platforms may vary.\n\n On the left is iOS5\u2019s Safari (running on iPhone), and on the right is Windows Phone 7 (pre-Mango).\n\n BlackBerry 7 (left), and Android 2.3 (right).\n\n WebOS (left), Opera Mini (middle), and Opera Mobile (right).\n\nSome browsers, such the default browsers on WebOS and BlackBerry 5, hide the bar automatically without any developer intervention, but many of them don\u2019t. Of these, we can only manually hide the address bar on iOS Safari and Android (according to Opera Web Opener, Mike Taylor, some discussion is underway for support in Opera Mini and Mobile as well, which would be great!). This is unfortunate, but iOS and Android are incredibly popular, so let\u2019s direct our focus there.\n\nGreat API, or greatest API?\n\nAs it turns out, iOS and Android not only allow you to hide the address bar, they use the same JavaScript method to do so, too (this shouldn\u2019t be surprising, given that they are both WebKit browsers, but nothing expected happens in mobile). However, the method they use is not exactly intuitive. You might set out looking for a JavaScript API dedicated to this purpose, like, say, window.toolbar.hide(), but alas, to hide the address bar you need to use the window.scrollTo method!\n\nwindow.scrollTo(0, 0);\n\nThe scrollTo method is not new, it\u2019s just this particular use of it that is. For the uninitiated, scrollTo is designed to scroll a document to a particular set of coordinates, assuming the document is large enough to scroll to that spot. The method accepts two arguments: a left coordinate; and a top coordinate. It\u2019s both simple and supported well pretty much everywhere. In iOS and Android, these coordinates are calculated from the top of the browser\u2019s viewport, just below the address bar (interestingly, it seems that some platforms like BlackBerry 6 treat the top of the browser chrome as 0 instead, meaning the page content is closer to 20px from the top).\n\nAnyway, by passing the coordinates 0, 0 to the scrollTo method, the browser will jump to the top of the page and pull the address bar out of view! Of course, if a quick call to scrollTo was all we need to do to hide the address bar in iOS and Android, this article would be pretty short, and nothing new. Unfortunately, the first issue we need to deal with is that this method alone will not usually do the trick: it must be called after the page has finished loading.\n\nThe browser gives us a load event for just that purpose, so we\u2019ll wrap our scrollTo method in it and continue on our merry way! We\u2019ll use the standard, addEventListener method to bind the the load event, passing arguments for event name load, and a callback function to execute when the event is triggered.\n\nwindow.addEventListener(\"load\",function() {\n    window.scrollTo(0, 0);\n});\n\nFor the sake of preventing errors in those using browsers that don\u2019t support addEventListener, such as Internet Explorer 8 and under, let\u2019s make sure that method exists before we use it:\n\nif( window.addEventListener ){\n    window.addEventListener(\"load\",function() {\n        window.scrollTo(0, 0);\n    });\n}\n\nNow we\u2019re getting somewhere, but we must also call the method after the load event\u2019s default behavior has been applied. For this, we can use the setTimeout method, delaying its execution to after the load event has run its course.\n\nif( window.addEventListener ){\n    window.addEventListener(\"load\",function() {\n        setTimeout(function(){\n            window.scrollTo(0, 0);\n        }, 0);\n    });\n}\n\nSweet sugar of Christmas! Hit this demo in iOS and watch that address bar drift up and away!\n\nNot so fast\u2026\n\nWe\u2019ve got a little problem: the approach above does work in iOS but, in some cases, it works a little too well. In the process of applying this behavior, we\u2019ve broken one of the primary tenets of responsible web development: don\u2019t break the browser\u2019s default behaviour. This usability rule of thumb is often violated by developers with even the best of intentions, from breaking the browser\u2019s back button through unrecorded Ajax page refreshes, to fancy momentum touch scrolling scripts that can wreak havoc in all but the most sophisticated of devices. In this case, we\u2019ve prevented the browser\u2019s native support of deep-linking to sections of a page (a hash identifier in the URL matching a page element\u2019s id attribute, for example, http://example.com#contact) from working properly, because our script always scrolls to the top.\n\nTo avoid this collision, we\u2019ll need to detect whether a deep link, or hash, is present in the URL before applying our logic. We can do this by ensuring that the location.hash property is falsey:\n\nif( !window.location.hash && window.addEventListener ){\n    window.addEventListener( \"load\",function() {\n        setTimeout(function(){\n            window.scrollTo(0, 0);\n        }, 0);\n    });\n}\n\nStill works great! And a quick test using a hash-based URL confirms that our script will not execute when a deep anchor is in play. Now iOS is looking sharp, and we\u2019ve added our feature defensively to avoid conflicts.\n\n\n\nNow, on to Android\u2026\n\nWait. You didn\u2019t expect that we could write code for one browser and be finished, right? Of course you didn\u2019t. I mentioned earlier that Android uses the same method for getting rid of the scrollbar, but I left out the fact that the arguments it prefers vary slightly, but significantly, from iOS. Bah!\n\nDifferering from the earlier logic from iOS, to remove the address bar on Android\u2019s default browser, you need to pass a Y coordinate of 1 instead of 0. Aside from being just plain odd, this is particularly unfortunate because to any other browser on the planet, 1px is a very real, however small, distance from the top of the page!\n\nwindow.scrollTo( 0, 1 );\n\nLooks like we\u2019re going to need a fork\u2026\n\nR UA Android?\n\nAt this point, some developers might decide to simply not support this feature in Android, and more determined devs might decide that a quick check of the User Agent string would be a reliable way to determine the browser and tweak the scroll value accordingly. Neither of those decisions would be tragic, but in the spirit of cross-browser and future-friendly development, I\u2019ll propose an alternative.\n\nBy this point, it should be clear that neither of the implementations above offer a particularly intuitive way to hide an address bar. As such, one might be skeptical that these approaches will stick around very long in their present state in either browser. Perhaps at some point, Android will decide to use 0 like iOS, making our lives a little easier, or maybe some new browser will decide to model their address bar hiding method after one of these implementations. In any case, detecting the User Agent only allows us to apply logic based on the known present, and in the world of mobile, let\u2019s face it, the present is already the past.\n\nWriting a check\n\nIn this next step of today\u2019s technique, we\u2019ll apply some logic to quickly determine the behavior model of the browser we\u2019re using, then capitalize on that model \u2013 without caring which browser it happens to come from \u2013 by applying the appropriate scroll distance.\n\nTo do this, we\u2019ll rely on a fortunate side effect of Android\u2019s implementation, which is when you programatically scroll the page to 1 using scrollTo, Android will report that it\u2019s still at 0 because oddly enough, it is! Of course, any other browser in this situation will report a scroll distance of 1. Thus, by scrolling the page to 1, then asking the browser its scroll distance, we can use this artifact of their wacky implementation to our advantage and scroll to the location that makes sense for the browser in play.\n\nGetting the scroll distance\n\nTo pull off our test, we\u2019ll need to ask the browser for its current scroll distance. The methods for getting scroll distance are not entirely standardized across popular browsers, so we\u2019ll need to use some cross-browser logic. The following scroll distance function is similar to what you\u2019d find in a library like jQuery. It checks the few common ways of getting scroll distance before eventually falling back to 0 for safety\u2019s sake (that said, I\u2019m unaware of any browsers that won\u2019t return a numeric value from one of the first three properties).\n\n// scrollTop getter\nfunction getScrollTop(){\n    return scrollTop  = window.pageYOffset ||\ndocument.compatMode === \"CSS1Compat\" && document.documentElement.scrollTop ||\ndocument.body.scrollTop || 0;\n}\n\nIn order to execute that code above, the body object (referenced here as document.body) will need to be defined already, or we\u2019ll risk an error. To determine that it\u2019s defined, we can run a quick timer to execute code as soon as that object is defined and ready for use.\n\nvar bodycheck = setInterval(function(){\n    if( document.body ){\n        clearInterval( bodycheck );\n        //more logic can go here!!\n    }   \n}, 15 );\n\nAbove, we\u2019ve defined a 15 millisecond interval called bodycheck that checks if document.body is defined and, if so, clears itself of running again. Within that if statement, we can extend our logic further to run other code, such as our check for the scroll distance, defined via the variable scrollTop below:\n\nvar scrollTop,\n    bodycheck = setInterval(function(){\n    if( document.body ){\n        clearInterval( bodycheck );\n        scrollTop = getScrollTop();\n    }   \n}, 15 );\n\nWith this working, we can immediately scroll to 1, then check the scroll distance when the body is defined. If the distance reports 1, we\u2019re likely in a non-Android browser, so we\u2019ll scroll back to 0 and clean up our mess.\n\nwindow.scrollTo( 0, 1 );\n\nvar scrollTop,\n    bodycheck = setInterval(function(){\n    if( document.body ){\n        clearInterval( bodycheck );\n        scrollTop = getScrollTop();\n        window.scrollTo( 0, scrollTop === 1 ? 0 : 1 );\n    }   \n}, 15 );\n\nCashing in\n\nAll of the pieces are written now, so all we need to do is combine them with our previous logic for scrolling when the window is loaded, and we\u2019ll have a cross-browser solution of which John Resig would be proud. Here\u2019s our combined code snippet, with some formatting updates rolled in as well:\n\n(function( win ){\n\tvar doc = win.document;\n\n\t// If there\u2019s a hash, or addEventListener is undefined, stop here\n\tif( !location.hash && win.addEventListener ){\n\t\t//scroll to 1\n\t\twindow.scrollTo( 0, 1 );\n\t\tvar scrollTop = 1,\n\t\t\tgetScrollTop = function(){\n\t\t\t\treturn win.pageYOffset || doc.compatMode = \"CSS1Compat\" && doc.documentElement.scrollTop || doc.body.scrollTop || 0;\n\t\t\t},\n\t\t\t//reset to 0 on bodyready, if needed\n\t\t\tbodycheck = setInterval(function(){\n\t\t\t\tif( doc.body ){\n\t\t\t\t\tclearInterval( bodycheck );\n\t\t\t\t\tscrollTop = getScrollTop();\n\t\t\t\t\twin.scrollTo( 0, scrollTop = 1 ? 0 : 1 );\n\t\t\t\t}\t\n\t\t\t}, 15 );\n\t\twin.addEventListener( \u201cload\u201d, function(){\n\t\t\tsetTimeout(function(){\n\t\t\t\t\t//reset to hide addr bar at onload\n\t\t\t\t\twin.scrollTo( 0, scrollTop === 1 ? 0 : 1 );\n\t\t\t}, 0);\n\t\t} );\n\t}\n})( this );\nView code example\n\nAnd with that, we\u2019ve got a bunch more room to play with on both iOS and Android.\n\n\n\nBreak out the eggnog\n\n\u2026because we\u2019re not done yet! In the spirit of making our script act more defensively, there\u2019s still another use case to consider. It was essential that we used the window\u2019s load event to trigger our scripting, but on pages with a lot of content, its use can come at a cost. Often, a user will begin interacting with a page, scrolling down as they read, before the load event has fired. In those situations, our script will jump the user back to the top of the page, resulting in a jarring experience.\n\nTo prevent this problem from occurring, we\u2019ll need to ensure that the page has not been scrolled beyond a certain amount. We can add a simple check using our getScrollTop function again, this time ensuring that its value is not greater than 20 pixels or so, accounting for a small tolerance.\n\nif( getScrollTop() < 20 ){\n    //reset to hide addr bar at onload\n    window.scrollTo( 0, scrollTop === 1 ? 0 : 1 );\n}\n\nAnd with that, we\u2019re pretty well protected! Here\u2019s a final demo.\n\nThe completed script can be found on Github (full source: https://gist.github.com/1183357 ). It\u2019s MIT licensed. Feel free to use it anywhere or any way you\u2019d like!\n\nYour thoughts?\n\nI hope this article provides you with a browser-agnostic approach to hiding the address bar that you can use in your own projects today. Perhaps alternatively, the complications involved in this approach convinced you that doing this well is more trouble than it\u2019s worth and, depending on the use case, that could be a fair decision. But at the very least, I hope this demonstrates that there\u2019s a lot of work involved in pulling off this small task in only two major platforms, and that there\u2019s a real need for standardization in this area.\n\nFeel free to leave a comment or criticism and I\u2019ll do my best to answer in a timely fashion.\n\nThanks, everyone!\n\nSome parting notes\n\nI scream, you scream\u2026\n\nAt the time of writing, I was not able to test this method on the latest Android 4.0 (Ice Cream Sandwich) build. According to Sencha Touch\u2019s browser scorecard, the browser in 4.0 may have a different way of managing the address bar, so I\u2019ll post in the comments once I get a chance to dig into it further.\n\nShort pages get no love\n\nToday\u2019s technique only works when the page is as tall, or taller than, the device\u2019s available screen height, so that the address bar may be scrolled out of view. On a short page, you might work around this issue by applying a minimum height to the body element ( body { min-height: 460px; } ), but given the variety of screen sizes out there, not to mention changes in orientation, it\u2019s tough to find a value that makes much sense (unless you manipulate it with JavaScript).", "year": "2011", "author": "Scott Jehl", "author_slug": "scottjehl", "published": "2011-12-20T00:00:00+00:00", "url": "https://24ways.org/2011/raising-the-bar-on-mobile/", "topic": "design"}
{"rowid": 284, "title": "Subliminal User Experience", "contents": "The term \u2018user experience\u2019 is often used vaguely to quantify common elements of the interaction design process: wireframing, sitemapping and so on. UX undoubtedly involves all of these principles to some degree, but there really is a lot more to it than that.\n\nGood UX is characterized by providing the user with constant feedback as they step through your interface. It means thinking about and providing fallbacks and error resolutions in even the rarest of scenarios. It\u2019s about omitting clutter to make way for the necessary, and using the most fundamental of design tools to influence a user\u2019s path. It means making no assumptions, designing right down to the most distinct details and going one step further every single time. In many cases, good UX is completely subliminal.\n\nThere are simple tools and subtleties we can build into our products to enhance the overall experience but, in order to do so, we really have to step beyond where we usually draw the line on what to design.\n\nThe purpose of this article is not to provide technical how-tos, as the functionality is, in most cases, quite simple and could be implemented in a myriad of ways. Rather, it will present a handful of ideas for enhancing the experience of an interface at a deeper level of design without relying on the container.\n\nWe\u2019ll cover three elements that should get you thinking in the right mindset:\n\n\n\tprogress activity and post-active states\n\tpseudo-class preloading\n\tbuttons and their (mis)behaviour\n\n\nProgress activity and the post-active state\n\nWe\u2019ve long established that we can\u2019t control the devices our products are viewed on, which browser they\u2019ll run in or what connection speed will be used to access them. We accept this all as factual, so why is it so often left to the browser to provide feedback to the user when an event is triggered or an error encountered? The browser isn\u2019t part of the interface \u2014 it\u2019s merely a container. A simple, visual recognition of your users\u2019 activity may be all it takes to make or break the product.\n\nLet\u2019s begin with a commonly overlooked case: progress activity.\n\nA user moves their cursor over a hyperlink or button, which is clearly defined as one by the visual language of your content. Upon doing so, they trigger the :hover state to confirm this element is indeed interactive. So far, so good. What happens next is where it starts to fall apart: the user hits this link, presumably triggering an :active state, which is then returned to the normal state upon release. And then what?\n\n\n\nFrom this point on, your user is in limbo. The link has fallen back to either its regular or :visited state. You\u2019ve effectively abandoned them and are relying entirely on the browser they\u2019re using to communicate that something is happening. This poses quite a few problems:\n\n\n\tThe user may lose focus of what they were doing.\n\tThere is little consistency between progress indication in browsers.\n\tThe user may not even notice that their action has been acknowledged.\n\n\nHow many times have one or more of these events happened to you due to a lack of communication from the interface?\n\nThink about the differences between Safari and Chrome in this area \u2014 two browsers that, when compared to each other, are relatively similar in nature, though this basic feature differs in execution.\n\n\n\nLike all aspects of designing the user experience, there is no one true way to fix this problem, but we can introduce details that many users will unconsciously appreciate.\n\nConsider the basic loading indicator. It\u2019s nothing new \u2014 in fact, some would argue it\u2019s quite a clich\u00e9. However, whether using a spinning wheel or a progress bar, a gif or JavaScript, or something more sophisticated, these simple tools create an illusion of movement, progress and activity. Depending on the implementation, progress indication graphics can significantly increase a user\u2019s perception of the speed in which an event is taking place. Combine this with a cursor change and a lock over the element to prevent double-clicking or reloading, and your chances of keeping your user\u2019s valuable attention have significantly increased.\n\nDemo: Progress activity and the post-active state\n\nThis same logic applies to all aspects of defaulting in a browser, from micro-elements like this up to something as simple as a 404 page. The difference in a user\u2019s reaction to hitting the default Apache 404 and a hand-crafted, branded page are phenomenal and there are no prizes for guessing which one they\u2019re more likely to exit from.\n\nPseudo-class preloading\n\nAnother detail that it pays well to look after is the use and abuse of the :hover element and, more importantly, the content revealed by it. Chances are you\u2019re using the :hover pseudo-class somewhere in almost every screen you create. If content is being revealed on :hover and that content takes some time to load, there will inevitably be a delay the first time it is initiated. It appears tacky and half-finished when a tooltip or drop-down loads instantly, only to have its background or supporting elements follow through a second or two later. So, let\u2019s preload the elements we know we\u2019ll need.\n\nA very simple application of this would be to load each file into the default state of a visible element and offset them by a large number. This ensures our elements have loaded and are ready if and when they need to be displayed.\n\nelement {\n    background: url(path/to/image.jpg) -9999em -9999em no-repeat;\n    }\nelement .tooltip {\n    display: none;\n    }\nelement:hover .tooltip {\n    display: block;\n    background: url(path/to/image.jpg) 0 0;\n    }\n\nBackground images are just one example. Of course, the same logic can apply to any form of revealed content. Using a sprite graphic can also be a clever \u2014 albeit tedious \u2014 method for achieving the same goal, so if you\u2019re using a sprite, preloading in this way may not be necessary\n\nThe differences between preloading and not can only be visualized properly with an actual demonstration.\n\nDemo: Preloading revealed content\n\nButtons and their (mis)behaviour\n\nAlmost all of the time, a button serves just one purpose: to be clicked (or tapped). When a button\u2019s pressed, therefore, if anything other than triggering the desired event occurs, a user naturally becomes frustrated. I often get funny looks when talking about this, but designing the details of a button is something I consider essential.\n\nIt goes without saying that a button should always visually recognise :hover and :active states. We can take that one step further and disable some actions that get in the way of pressing the button.\n\nIt\u2019s rare that a user would ever want to select and use the text on a button, so let\u2019s cleanly disable it:\n\nelement {\n    -moz-user-select: -moz-none;\n    -webkit-user-select: none;\n    user-select: none;\n    }\n\nIf the button is image-based or contains an image, we could also disable user dragging to make sure the image element stays locked to the button:\n\nelement {\n    -moz-user-drag: -moz-none;\n    -webkit-user-drag: none;\n    user-drag: none;\n    }\n\nDemo: A more usable button\n\nDisabling global features like this should be done with utmost caution as it\u2019s very easy to cross the line between enhancement and friction. Cases where this is acceptable are very rare, but it\u2019s a good trick to keep in mind nevertheless. Both Apple\u2019s iCloud and Metalab\u2019s Flow applications use these tools appropriately and to great extent.\n\nYou could argue that the visual feedback of having the text selected or image dragged when a user mis-hits the button is actually a positive effect, informing the user that their desired action did not work. However, covering for human error should be a designer\u2019s job, not that of our users. We can (almost) ensure it does work for them by accommodating for errors like this in most cases.\n\nFinal thoughts\n\nDesigning to this level of detail can seem obsessive, but as a designer and user of many interfaces and applications, I believe it can be the difference between a good user experience and a great one.\n\nThe samples you\u2019ve just seen are only a fraction of the detail we can design for. Keep in mind that the demonstrations, code and methods above outline just one way to do this. You may not agree with all of these processes or have the time and desire to consider them, but one fact remains: it\u2019s not the technology, or the way it\u2019s done that\u2019s important \u2014 it\u2019s the logic and the concept of designing everything.", "year": "2011", "author": "Chris Sealey", "author_slug": "chrissealey", "published": "2011-12-03T00:00:00+00:00", "url": "https://24ways.org/2011/subliminal-user-experience/", "topic": "ux"}
{"rowid": 267, "title": "Taming Complexity", "contents": "I\u2019m going to step into my UX trousers for this one. I wouldn\u2019t usually wear them in public, but it\u2019s Christmas, so there\u2019s nothing wrong with looking silly.\n\nAnyway, to business. Wherever I roam, I hear the familiar call for simplicity and the denouncement of complexity. I read often that the simpler something is, the more usable it will be. We understand that simple is hard to achieve, but we push for it nonetheless, convinced it will make what we build easier to use. Simple is better, right?\n\nWell, I\u2019ll try to explore that. Much of what follows will not be revelatory to some but, like all good lessons, I think this serves as a welcome reminder that as we live in a complex world it\u2019s OK to sometimes reflect that complexity in the products we build.\n\nMyths and legends\n\nLess is more, we\u2019ve been told, ever since master of poetic verse Robert Browning used the phrase in 1855. Well, I\u2019ve conducted some research, and it appears he knew nothing of web design. Neither did modernist architect Ludwig Mies van der Rohe, a later pedlar of this worthy yet contradictory notion. Broad is narrow. Tall is short. Eggs are chips. See: anyone can come up with this stuff.\n\nTo paraphrase Einstein, simple doesn\u2019t have to be simpler. In other words, simple doesn\u2019t dictate that we remove the complexity. Complex doesn\u2019t have to be confusing; it can be beautiful and elegant. On the web, complex can be necessary and powerful. A website that simplifies the lives of its users by offering them everything they need in one site or screen is powerful. For some, the greater the density of information, the more useful the site.\n\nIn our decision-making process, principles such as Occam\u2019s razor\u2019s_razor (in a nutshell: simple is better than complex) are useful, but simple is for the user to determine through their initial impression and subsequent engagement. What appears simple to me or you might appear very complex to someone else, based on their own mental model or needs. We can aim to deliver simple, but they\u2019ll be the judge.\n\nAs a designer, developer, content alchemist, user experience discombobulator, or whatever you call yourself, you\u2019re often wrestling with a wealth of material, a huge number of features, and numerous objectives. In many cases, much of that stuff is extraneous, and goes in the dustbin. However, it can be just as likely that there\u2019s a truckload of suggested features and content because it all needs to be there. Don\u2019t be afraid of that weight.\n\nIn the right hands, less can indeed mean more, but it\u2019s just as likely that less can very often lead to, well\u2026 less.\n\nComplexity is powerful\n\nSimple is the ability to offer a powerful experience without overwhelming the audience or inducing information anxiety. Giving them everything they need, without having them ferret off all over a site to get things done, is important.\n\nIt\u2019s useful to ask throughout a site\u2019s lifespan, \u201cdoes the user have everything they need?\u201d It\u2019s so easy to let our designer egos get in the way and chop stuff out, reduce down to only the things we want to see. That benefits us in the short term, but compromises the audience long-term.\n\nThe trick is not to be afraid of complexity in itself, but to avoid creating the perception of complexity. Give a user a flight simulator and they\u2019ll crash the plane or jump out. Give them everything they need and more, but make it feel simple, and you\u2019re building a relationship, empowering people.\n\nThis can be achieved carefully with what some call gradual engagement, and often the sensible thing might be to unleash complexity in carefully orchestrated phases, initially setting manageable levels of engagement and interaction, gradually increasing the inherent power of the product and fostering an empowered community.\n\nThe design aesthetic\n\nHere\u2019s a familiar scenario: the client or project lead gets overexcited and skips most of the important decision-making, instead barrelling straight into a bout of creative direction Tourette\u2019s. Visually, the design needs to be minimal, white, crisp, full of white space, have big buttons, and quite likely be \u201cclean\u201d. Of course, we all like our websites to be clean as that\u2019s more hygienic.\n\nBut what do these words even mean, really? Early in a project they\u2019re abstract distractions, unnecessary constraints. This premature narrowing forces us to think much more about throwing stuff out rather than acknowledging that what we\u2019re building is complex, and many of the components perhaps necessary.\n\nSimple is not a formula. It cannot be achieved just by using a white background, by throwing things away, or by breathing a bellowsful of air in between every element and having it all float around in space. Simple is not a design treatment. Simple is hard. Simple requires deep investigation, a thorough understanding of every aspect of a project, in line with the needs and expectations of the audience.\n\nRecognizing this helps us empathize a little more with those most vocal of UX practitioners. They usually appreciate that our successes depend on a thorough understanding of the user\u2019s mental models and expected outcomes. I personally still consider UX people to be web designers like the rest of us (mainly to wind them up), but they\u2019re web designers that design every decision, and by putting the user experience at the heart of their process, they have a greater chance of finding simplicity in complexity. The visual design aesthetic \u2014 the fa\u00e7ade \u2014 is only a part of that.\n\nDivide and conquer\n\nI\u2019m currently working on an app that\u2019s complex in architecture, and complex in ambition. We\u2019ll be releasing in carefully orchestrated private phases, gradually introducing more complexity in line with the unavoidably complex nature of the objective, but my job is to design the whole, the complete system as it will be when it\u2019s out of beta and beyond.\n\nI\u2019ve noticed that I\u2019m not throwing much out; most of it needs to be there. Therefore, my responsibility is to consider interesting and appropriate methods of navigation and bring everything together logically.\n\nI\u2019m using things like smart defaults, graphical timelines and colour keys to make sense of the complexity, techniques that are sympathetic to the content. They act as familiar points of navigation and reference, yet are malleable enough to change subtly to remain relevant to the information they connect. It\u2019s really OK to have a lot of stuff, so long as we make each component work smartly.\n\nIt\u2019s a divide and conquer approach. By finding simplicity and logic in each content bucket, I\u2019ve made more sense of the whole, allowing me to create key layouts where most of the simplified buckets are collated and sometimes combined, providing everything the user needs and expects in the appropriate places.\n\nI\u2019m also making sure I don\u2019t reduce the app\u2019s power. I need to reflect the scale of opportunity, and provide access to or knowledge of the more advanced tools and features for everyone: a window into what they can do and how they can help. I know it\u2019s the minority who will be actively building the content, but the power is in providing those opportunities for all.\n\nMuch of this will be familiar to the responsible practitioners who build websites for government, local authorities, utility companies, newspapers, magazines, banking, and we-sell-everything-ever-made online shops. Across the web, there are sites and tools that thrive on complexity.\n\nAlas, the majority of such sites have done little to make navigation intuitive, or empower audiences. Where we can make a difference is by striving to make our UIs feel simple, look wonderful, not intimidating \u2014 even if they\u2019re mind-meltingly complex behind that fa\u00e7ade.\n\nEmbrace, empathize and tame\n\nSo, there are loads of ways to exploit complexity, and make it seem simple. I\u2019ve hinted at some methods above, and we\u2019ve already looked at gradual engagement as a way to make sense of complexity, so that\u2019s a big thumbs-up for a release cycle that increases audience power.\n\nPrior to each and every release, it\u2019s also useful to rest on the finished thing for a while and use it yourself, even if you\u2019re itching to release. \u2018Ready\u2019 often isn\u2019t, and \u2018finished\u2019 never is, and the more time you spend browsing around the sites you build, the more you learn what to question, where to add, or subtract. It\u2019s definitely worth building in some contingency time for sitting on your work, so to speak.\n\nOne thing I always do is squint at my layouts. By squinting, I get a sort of abstract idea of the overall composition, and general feel for the thing. It makes my face look stupid, but helps me see how various buckets fit together, and how simple or complex the site feels overall.\n\nI mentioned the need to put our design egos to one side and not throw out anything useful, and I think that\u2019s vital. I\u2019m a big believer in economy, reduction, and removing the extraneous, but I\u2019m usually referring to decoration, bells and whistles, and fluff. I wouldn\u2019t ever advocate the complete removal of powerful content from a project roadmap.\n\nAbove all, don\u2019t fear complexity. Embrace and tame it. Work hard to empathize with audience needs, and you can create elegant, playful, risky, surprising, emotive, delightful, and ultimately simple things.", "year": "2011", "author": "Simon Collison", "author_slug": "simoncollison", "published": "2011-12-21T00:00:00+00:00", "url": "https://24ways.org/2011/taming-complexity/", "topic": "ux"}
{"rowid": 273, "title": "There\u2019s No Formula for Great Designs", "contents": "Before he combined them with fluid images and CSS3 media queries to coin responsive design, Ethan Marcotte described fluid grids \u2014 one of the most enjoyable parts of responsive design. Enjoyable that is, if you like working with math(s). But fluid grids aren\u2019t perfect and, unless we\u2019re careful when applying them, they can sometimes result in a design that feels disconnected.\n\nRecapping fluid grids\n\nIf you haven\u2019t read Ethan\u2019s Fluid Grids, now would be a good time to do that. It centres around a simple formula for converting pixel widths to percentages:\n\n(target \u00f7 context) \u00d7 100 = result\n\nHow does that work in practice? Well, take that Fireworks or Photoshop comp you\u2019re working on (I call them static design visuals, or just visuals.) Of course, everything on that visual \u2014 column divisions, inline images, navigation elements, everything \u2014 is measured in pixels. Now:\n\n\n\tPick something in the visual and measure its width. That\u2019s our target.\n\tTake that target measurement and divide it by the width of its parent (context).\n\tMultiply what you\u2019ve got by 100 (shift two decimal places).\n\tWhat you\u2019re left with is a percentage width to drop into your style sheets.\n\n\nFor example, divide this 300px wide sidebar division by its 948px parent and then multiply by 100: your original 300px is neatly converted to 31.646%.\n\n.content-sub {\nwidth : 31.646%; /* 300px \u00f7 948px = .31646 */ }\n\nThat formula makes it surprisingly simple for even die-hard fixed width aficionados to convert their visuals to percentage-based, fluid layouts.\n\nIt\u2019s a handy formula for those who still design using static visuals, and downright essential for those situations where one person in an organization designs in Fireworks or Photoshop and another develops with CSS. Why?\n\nWell, although I think that designing in a browser makes the best sense \u2014 particularly when designing for multiple devices \u2014 I\u2019ll wager most designers still make visuals in Fireworks or Photoshop and use them for demonstrations and get feedback and sign-off. That\u2019s OK. If you haven\u2019t made the transition to content-out designing in a browser yet, the fluid grids formula helps you carry on pushing pixels a while longer.\n\nYou can carry on moving pixel width measurements from your visuals to your style sheets, too, in the same way you always have. You can be precise to the pixel and even apply a grid image as a CSS background to help you keep everything lined up perfectly.\n\nOnce you\u2019re done, and the fixed width layout in the browser matches your visual, loop back through your style sheets and convert those pixels to percentages using the fluid grids formula. With very little extra work, you\u2019ll have a fluid implementation of your fixed width layout.\n\nThe fluid grids formula is simple and incredibly effective, but not long after I started working responsively I realized that the formula shouldn\u2019t (always) be a one-fix, set-and-forget calculation. I noticed that unless we compensate for problems it sometimes creates, the result can be a disconnected design.\n\nStaying connected\n\nGood design relies on connectedness, a feeling of natural balance between elements and the grid they\u2019re placed on. Give an element greater prominence or position in a visual hierarchy and you can fundamentally alter the balance and sometimes the meaning of a design.\n\nDifferent from a browser\u2019s page zooming feature \u2014 where images, text and overall layout change size by the same ratio \u2014 fluid grids flex a layout in response to a window or device width. Columns expand and contract, and within them fluid media (images and videos) can also change size. This can be one of the most impressive demonstrations of responsive design.\n\nBut not every element within a fluid grid can change size along with the window or device width. For example, type size and leading won\u2019t change along with a column\u2019s width.\n\nWhen columns and elements within them change width, all too easily a visual hierarchy can be broken and along with it the relationship between element sizes and the outer window or viewport. This can happen quickly if you make just one set of fluid grid calculations and use those percentages across every screen width, from smartphones through tablets and up to large desktops.\n\nThe answer? Make several sets of fluid grids calculations, each one at a significant window or device width breakpoint. Then apply those new percentages, when needed, to help keep elements in proportion and maintain balance and connectedness. Here\u2019s how I work.\n\nAvoiding disconnection\n\nI\u2019ve never been entirely happy with grid frameworks such as the 960 Grid System, so I start almost every project by creating a custom grid to inform my layout decisions. Here\u2019s a plain version of a grid from a recent project that I\u2019ll use as an illustration.\n\nThis project\u2019s grid comprises 84px columns and 24px gutters. This creates an odd number of columns at common tablet and desktop widths, and allows for 300px fixed width assets \u2014 useful when I need to fit advertising into a desktop layout\u2019s sidebar.\n\n Showing common advertising sizes (Larger image)\n\nFor this project I chose three 320 and Up breakpoints above 320px and, after placing as many columns as would fit those breakpoint widths, I derived three content widths:\n\n\n\t\t\n\t\t\tBreakpoint \n\t\t\tColumns \n\t\t\tContent width \n\t\t\n\t\t\n\t\t\t768px \n\t\t\t 7 \n\t\t\t 732px \n\t\t\n\t\t\n\t\t\t992px \n\t\t\t 9 \n\t\t\t 948px \n\t\t\n\t\t\n\t\t\t1,382px \n\t\t\t 13 \n\t\t\t 1,380px \n\t\t\n\n\nHere\u2019s my grid again, this time with pixel measurements and breakpoints overlaid.\n\n Showing pixel measurements and breakpoints (Larger image)\n\nNow cast your mind back to the fluid grids calculation I made earlier. I divided a 300px element by 948px and arrived at 31.646%. For some elements it\u2019s possible to use that percentage across all screen widths, but others will feel too small in relation to a narrower 768px and too large inside 1,380px.\n\nTo help maintain connectedness, I make a set of fluid grids calculations based on each of the content widths I established earlier. Now I can shift an element\u2019s percentage width up or down when I switch to a new breakpoint and content width. For example:\n\n\n\t300px is 40.984% of 732px\n\t300px is 31.646% of 948px\n\t300px is 21.739% of 1,380px\n\n\nI\u2019ll add all those fluid grid percentages to my grid image and save it for quick reference.\n\n Showing percentages at all breakpoints (Larger image)\n\nThen I can apply those different percentage widths to elements at each breakpoint using CSS3 media queries. For example, that sidebar division again:\n\n/*  732px, 7-column width */\n\n@media only screen and (min-width: 768px) {\n\n    .content-sub {\n        width : 40.983%; /* 300px \u00f7 732px = .40983 */ }\n\n}\n\n/*  948px, 9-column width */\n@media only screen and (min-width: 992px) {\n\n    .content-sub {\n        width : 31.645%; /* 300px \u00f7 948px = .31645 */ }\n\n}\n\n/*  1380px, 13-column width */\n@media only screen and (min-width: 1382px) {\n\n    .content-sub {\n        width : 21.739%; /* 300px \u00f7 1380px = .21739 */ }\n\n}\n\nThe number of changes you make to a layout at different breakpoints will, of course, depend on the specifics of the design you\u2019re working on. Yes, this is additional work, but the result will be a layout that feels better balanced and within which elements remain in harmony with each other while they respond to new screen or device widths.\n\nPutting the design in responsive web design\n\nUntil now, many of the conversations around responsive web design have been about aspects of technical implementation, rather than design. I believe we\u2019re only beginning to understand what\u2019s involved in designing responsively. In future, we\u2019ll likely be making design decisions not just about proportions but also about responsive typography. We\u2019ll also need to learn how to adapt our designs to device characteristics such as touch targets and more.\n\nSometimes we\u2019ll make decisions to improve function, other times because they make a design \u2018feel\u2019 right. You\u2019ll know when you\u2019ve made a right decision. You\u2019ll feel it.\n\nAfter all, there really is no formula for making great designs.", "year": "2011", "author": "Andy Clarke", "author_slug": "andyclarke", "published": "2011-12-23T00:00:00+00:00", "url": "https://24ways.org/2011/theres-no-formula-for-great-designs/", "topic": "ux"}
{"rowid": 276, "title": "Your jQuery: Now With 67% Less Suck", "contents": "Fun fact: more websites are now using jQuery than Flash.\n\njQuery is an amazing tool that\u2019s made JavaScript accessible to developers and designers of all levels of experience. However, as Spiderman taught us, \u201cwith great power comes great responsibility.\u201d The unfortunate downside to jQuery is that while it makes it easy to write JavaScript, it makes it easy to write really really f*&#ing bad JavaScript. Scripts that slow down page load, unresponsive user interfaces, and spaghetti code knotted so deep that it should come with a bottle of whiskey for the next sucker developer that has to work on it. \n\nThis becomes more important for those of us who have yet to move into the magical fairy wonderland where none of our clients or users view our pages in Internet Explorer. The IE JavaScript engine moves at the speed of an advancing glacier compared to more modern browsers, so optimizing our code for performance takes on an even higher level of urgency.\n\nThankfully, there are a few very simple things anyone can add into their jQuery workflow that can clear up a lot of basic problems. When undertaking code reviews, three of the areas where I consistently see the biggest problems are: inefficient selectors; poor event delegation; and clunky DOM manipulation. We\u2019ll tackle all three of these and hopefully you\u2019ll walk away with some new jQuery batarangs to toss around in your next project.\n\nSelector optimization\n\nSelector speed: fast or slow?\n\nSaying that the power behind jQuery comes from its ability to select DOM elements and act on them is like saying that Photoshop is a really good tool for selecting pixels on screen and making them change color \u2013 it\u2019s a bit of a gross oversimplification, but the fact remains that jQuery gives us a ton of ways to choose which element or elements in a page we want to work with. However, a surprising number of web developers are unaware that all selectors are not created equal; in fact, it\u2019s incredible just how drastic the performance difference can be between two selectors that, at first glance, appear nearly identical. For instance, consider these two ways of selecting all paragraph tags inside a <div> with an ID.\n\n$(\"#id p\");\n\n$(\"#id\").find(\"p\");\n\nWould it surprise you to learn that the second way can be more than twice as fast as the first? Knowing which selectors outperform others (and why) is a pretty key building block in making sure your code runs well and doesn\u2019t frustrate your users waiting for things to happen.\n\nThere are many different ways to select elements using jQuery, but the most common ways can be basically broken down into five different methods. In order, roughly, from fastest to slowest, these are:\n\n\n\t$(\"#id\"); \nThis is without a doubt the fastest selector jQuery provides because it maps directly to the native document.getElementbyId() JavaScript method. If possible, the selectors listed below should be prefaced with an ID selector in conjunction with jQuery\u2019s .find() method to limit the scope of the page that has to be searched (as in the $(\"#id\").find(\"p\") example shown above).\n\t$(\"p\");, $(\"input\");, $(\"form\"); and so on\nSelecting elements by tag name is also fast, since it maps directly to the native document.getElementsByTagname() method.\n\t$(\".class\"); \nSelecting by class name is a little trickier. While still performing very well in modern browsers, it can cause some pretty significant slowdowns in IE8 and below. Why? IE9 was the first IE version to support the native document.getElementsByClassName() JavaScript method. Older browsers have to resort to using much slower DOM-scraping methods that can really impact performance.\n\t$(\"[attribute=value]\");\nThere is no native JavaScript method for this selector to use, so the only way that jQuery can perform the search is by crawling the entire DOM looking for matches. Modern browsers that support the querySelectorAll() method will perform better in certain cases (Opera, especially, runs these searches much faster than any other browser) but, generally speaking, this type of selector is Slowey McSlowersons.\n\t$(\":hidden\");\nLike attribute selectors, there is no native JavaScript method for this one to use. Pseudo-selectors can be painfully slow since the selector has to be run against every element in your search space. Again, modern browsers with querySelectorAll() will perform slightly better here, but try to avoid these if at all possible. If you must use one, try to limit the search space to a specific portion of the page: $(\"#list\").find(\":hidden\");\n\n\nBut, hey, proof is in the performance testing, right? It just so happens that said proof is sitting right here. Be sure to notice the class selector numbers beside IE7 and 8 compared to other browsers and then wonder how the people on the IE team at Microsoft manage to sleep at night. Yikes.\n\nChaining\n\nAlmost all jQuery methods return a jQuery object. This means that when a method is run, its results are returned and you can continue executing more methods on them. Rather than writing out the same selector multiple times over, just making a selection once allows multiple actions to be run on it.\n\nWithout chaining\n\n$(\"#object\").addClass(\"active\");\n$(\"#object\").css(\"color\",\"#f0f\");\n$(\"#object\").height(300);\n\nWith chaining\n\n$(\"#object\").addClass(\"active\").css(\"color\", \"#f0f\").height(300);\n\nThis has the dual effect of making your code shorter and faster. Chained methods will be slightly faster than multiple methods made on a cached selector, and both ways will be much faster than multiple methods made on non-cached selectors. Wait\u2026 \u201ccached selector\u201d? What is this new devilry? \n\nCaching\n\nAnother easy way to speed up your code that seems to be a mystery to developers is the idea of caching your selectors. Think of how many times you end up writing the same selector over and over again in any project. Every $(\".element\") selector has to search the entire DOM each time, regardless of whether or not that selector had been previously run. Running the selection once and then storing the results in a variable means that the DOM only has to be searched once. Once the results of a selector have been cached, you can do anything with them.\n\nFirst, run your search (here we\u2019re selecting all of the <li> elements inside <ul id=\"blocks\">): \n\nvar blocks = $(\"#blocks\").find(\"li\");\n\nNow, you can use the blocks variable wherever you want without having to search the DOM every time.\n\n$(\"#hideBlocks\").click(function() {\n    blocks.fadeOut();\n});\n$(\"#showBlocks\").click(function() {\n    blocks.fadeIn();\n});\n\nMy advice? Any selector that gets run more than once should be cached. This jsperf test shows just how much faster a cached selector runs compared to a non-cached one (and even throws some chaining love in to boot).\n\nEvent delegation\n\nEvent listeners cost memory. In complex websites and apps it\u2019s not uncommon to have a lot of event listeners floating around, and thankfully jQuery provides some really easy methods for handling event listeners efficiently through delegation.\n\nIn a bit of an extreme example, imagine a situation where a 10\u00d710 cell table needs to have an event listener on each cell; let\u2019s say that clicking on a cell adds or removes a class that defines the cell\u2019s background color. A typical way that this might be written (and something I\u2019ve often seen during code reviews) is like so:\n\n$('table').find('td').click(function() {\n    $(this).toggleClass('active');\n});\n\njQuery 1.7 has provided us with a new event listener method, .on(). It acts as a utility that wraps all of jQuery\u2019s previous event listeners into one convenient method, and the way you write it determines how it behaves. To rewrite the above .click() example using .on(), we\u2019d simply do the following:\n\n$('table').find('td').on('click',function() {\n    $(this).toggleClass('active');\n});\n\nSimple enough, right? Sure, but the problem here is that we\u2019re still binding one hundred event listeners to our page, one to each individual table cell. A far better way to do things is to create one event listener on the table itself that listens for events inside it. Since the majority of events bubble up the DOM tree, we can bind a single event listener to one element (in this case, the <table>) and wait for events to bubble up from its children. The way to do this using the .on() method requires only one change from our code above:\n\n$('table').on('click','td',function() {\n    $(this).toggleClass('active');\n});\n\nAll we\u2019ve done is moved the td selector to an argument inside the .on() method. Providing a selector to .on() switches it into delegation mode, and the event is only fired for descendants of the bound element (table) that match the selector (td). With that one simple change, we\u2019ve gone from having to bind one hundred event listeners to just one. You might think that the browser having to do one hundred times less work would be a good thing and you\u2019d be completely right. The difference between the two examples above is staggering.\n\n(Note that if your site is using a version of jQuery earlier than 1.7, you can accomplish the very same thing using the .delegate() method. The syntax of how you write the function differs slightly; if you\u2019ve never used it before, it\u2019s worth checking the API docs for that page to see how it works.)\n\nDOM manipulation\n\njQuery makes it very easy to manipulate the DOM. It\u2019s trivial to create new nodes, insert them, remove other ones, move things around, and so on. While the code to do this is simple to write, every time the DOM is manipulated, the browser has to repaint and reflow content which can be extremely costly. This is no more evident than in a long loop, whether it be a standard for() loop, while() loop, or jQuery $.each() loop.\n\nIn this case, let\u2019s say we\u2019ve just received an array full of image URLs from a database or Ajax call or wherever, and we want to put all of those images in an unordered list. Commonly, you\u2019ll see code like this to pull this off:\n\nvar arr = [reallyLongArrayOfImageURLs]; \n    $.each(arr, function(count, item) {\n        var newImg = '<li><img src=\"'+item+'\"></li>';\n        $('#imgList').append(newImg);\n    });\n\nThere are a couple of problems with this. For one (which you should have already noticed if you\u2019ve read the earlier part of this article), we\u2019re making the $(\"#imgList\") selection once for each iteration of our loop. The other problem here is that each time the loop iterates, it\u2019s adding a new <li> to the DOM. Each of those insertions is going to be costly, and if our array is quite large then this could lead to a massive slowdown or even the dreaded \u2018A script is causing this page to run slowly\u2019 warning.\n\nvar arr = [reallyLongArrayOfImageURLs],\n    tmp = ''; \n$.each(arr, function(count, item) {\n    tmp += '<li><img src=\"'+item+'\"></li>';\n});\n$('#imgList').append(tmp);\n\nAll we\u2019ve done here is create a tmp variable that each <li> is added to as it\u2019s created. Once our loop has finished iterating, that tmp variable will contain all of our list items in memory, and can be appended to our <ul> all in one go. Browsers work much faster when working with objects in memory rather than on screen, so this is a much faster, more CPU-cycle-friendly method of building a list.\n\nWrapping up\n\nThese are far from being the only ways to make your jQuery code run better, but they are among the simplest ones to implement. Though each individual change may only make a few milliseconds of difference, it doesn\u2019t take long for those milliseconds to add up. Studies have shown that the human eye can discern delays of as few as 100ms, so simply making a few changes sprinkled throughout your code can very easily have a noticeable effect on how well your website or app performs. Do you have other jQuery optimization tips to share? Leave them in the comments and help make us all better.\n\nNow go forth and make awesome!", "year": "2011", "author": "Scott Kosman", "author_slug": "scottkosman", "published": "2011-12-13T00:00:00+00:00", "url": "https://24ways.org/2011/your-jquery-now-with-less-suck/", "topic": "code"}
{"rowid": 75, "title": "A Harder-Working Class", "contents": "Class is only becoming more important. Focusing on its original definition as an attribute for grouping (or classifying) as well as linking HTML to CSS, recent front-end development practices are emphasizing class as a vessel for structured, modularized style packages. These patterns reduce the need for repetitive declarations that can seriously bloat file sizes, and instil human-readable understanding of how the interface, layout, and aesthetics are constructed.\n\nIn the next handful of paragraphs, we will look at how these emerging practices \u2013 such as object-oriented CSS and SMACSS \u2013 are pushing the relevance of class. We will also explore how HTML and CSS architecture can be further simplified, performance can be boosted, and CSS utility sharpened by combining class with the attribute selector.\n\nA primer on attribute selectors\n\nWhile attribute selectors were introduced in the CSS 2 spec, they are still considered rather exotic. These well-established and well-supported features give us vastly improved flexibility in targeting elements in CSS, and offer us opportunities for smarter markup. With an attribute selector, you can directly style an element based on any of its unique \u2013 or uniquely shared \u2013 attributes, without the need for an ID or extra classes. Unlike pseudo-classes, pseudo-elements, and other exciting features of CSS3, attribute selectors do not require any browser-specific syntax or prefix, and are even supported in Internet Explorer 7. \n\nFor example, say we want to target all anchor tags on a page that link to our homepage. Where otherwise we might need to manually identify and add classes to the HTML for these specific links, we could simply write:\n\n[href=index.html] {  }\n\nThis selector reads: target every element that has an href attribute of \u201cindex.html\u201d. \n\nAttribute selectors are more faceted, though, as they also give us some very simple regular expression-like logic that helps further narrow (or widen) a selector\u2019s scope. In our previous example, what if we wanted to also give indicative styles to any anchor tag linking to an external site? With no way to know what the exact href value would be for every external link, we need to use an expression to match a common aspect of those links. In this case, we know that all external links need to start with \u201chttp\u201d, so we can use that as a hook:\n\n[href^=http] {  }\n\nThe selector here reads: target every element that has an href attribute that begins with \u201chttp\u201d (which will also include \u201chttps\u201d). The ^= means \u201cstarts with\u201d. There are a few other simple expressions that give us a lot of flexibility in targeting elements, and I have found that a deep understanding of these and other selector types to be very useful.\n\nThe class-attribute selector\n\nBy matching classes with the attribute selector, CSS can be pushed to accomplish some exciting new feats. What I call a class-attribute selector combines the advantages of classes with attribute selectors by targeting the class attribute, rather than a specific class. Instead of selecting .urgent, you could select [class*=urgent]. The latter may seem like a more verbose way of accomplishing the former, but each would actually match two subtly different groups of elements.\n\nEric Meyer first explored the possibility of using classes with attribute selectors over a decade ago. While his interest in this technique mostly explored the different facets of the syntax, I have found that using class-attribute selectors can have distinct advantages over either using an attribute selector or a straightforward class selector.\n\nFirst, let\u2019s explore some of the subtleties of why we would target class before other attributes:\n\n\n\tClasses are ubiquitous. They have been supported since the HTML 4 spec was released in 1999. Newer attributes, such as the custom data attribute, have only recently begun to be adopted by browsers.\n\tClasses have multiple ways of being targeted. You can use the class selector or attribute selector (.classname or [class=classname]), allowing more flexible specificity than resorting to an ID or !important.\n\tClasses are already widely used, so adding more classes will usually require less markup than adding more attributes.\n\tClasses were designed to abstractly group and specify elements, making them the most appropriate attribute for styling using object-oriented methods (as we will learn in a moment).\n\n\nAlso, as Meyer pointed out, we can use the class-attribute selector to be more strict about class declarations. Of these two elements:\n\n<h2 class=\"very urgent\">\n\n<h2 class=\"urgent\">\n\n\u2026only the second h2 would be selected by [class=urgent], while .urgent would select both. The use of = matches any element with the exact class value of \u201curgent\u201d. Eric explores these nuances further in his series on attribute selectors, but perhaps more dramatic is the added power that class-attribute selectors can bring to our CSS.\n\nMore object-oriented, more scalable and modular\n\nNicole Sullivan has been pushing abstracted, object-oriented thinking in CSS development for years now. She has shared stacks of knowledge on how behemoth sites have seen impressive gains in maintenance overhead and CSS file sizes by leaning heavier on classes derived from common patterns. Jonathan Snook also speaks, writes and is genuinely passionate about improving our markup by using more stratified and modular class name conventions. With SMACSS, he shows this to be highly useful across sites \u2013 both complex and simple \u2013 that exhibit repeated design patterns. Sullivan and Snook both push the use of class for styling over other attributes, and many front-end developers are fast advocating such thinking as best practice.\n\nWith class-attribute selectors, we can further abstract our CSS, pushing its scalability. In his chapter on modules, Snook gives the example of a .pod class that might represent a certain set of styles. A .pod style set might be used in varying contexts, leading to CSS that might normally look like this:\n\n.pod {  }\nform .pod {  }\naside .pod {  }\n\nAccording to Snook, we can make these styles more portable by targeting more verbose classes, rather than context:\n\n.pod {  }\n.pod-form {  }\n.pod-sidebar {  }\n\n\u2026resulting in the following HTML:\n\n<div class=\"pod\">\n<div class=\"pod pod-form\">\n<div class=\"pod pod-sidebar\">\n\nThis divorces the <div>\u2019s styles from its context, making it applicable to any situation in which it is needed. The markup is clean and portable, and the classes are imbued with meaning as to what module they belong to. \n\nUsing class-attribute selectors, we can simplify this further:\n\n[class*=pod] {  }\n.pod-form {  }\n.pod-sidebar {  }\n\nThe *= tells the browser to look for any element with a class attribute containing \u201cpod\u201d, so it matches \u201cpod\u201d, \u201cpod-form\u201d, \u201cpod-sidebar\u201d, etc. This allows only one class per element, resulting in simpler HTML:\n\n<div class=\"pod\">\n<div class=\"pod-form\">\n<div class=\"pod-sidebar\">\n\nWe could further abstract the concept of \u201cform\u201d and \u201csidebar\u201d adjustments if we knew that each of those alterations would always need the same treatment.\n\n/* Modules */\n[class*=pod] {  }\n[class*=btn] {  }\n\n/* Alterations */\n[class*=-form] {  }\n[class*=-sidebar] {  }\n\nIn this case, all elements with classes appended \u201c-form\u201d or \u201c-sidebar\u201d would be altered in the same manner, allowing the markup to stay simple:\n\n<form>\n  <h2 class=\"pod-form\">\n  <a class=\"btn-form\" href=\"#\">\n\n<aside>\n  <h2 class=\"pod-sidebar\">\n  <a class=\"btn-sidebar\" href=\"#\">\n\n50+ shades of specificity\n\nClasses are just powerful enough to override element selectors and default styling, but still leave room to be trumped by IDs and !important styles. This makes them more suitable for object-oriented patterns and helps avoid messy specificity issues that can not only be a pain for developers to maintain, but can also affect a site\u2019s performance. As Sullivan notes, \u201cIn almost every case, classes work well and have fewer unintended consequences than either IDs or element selectors\u201d. Proper use of specificity and cascade is crucial in building straightforward, efficient CSS.\n\nOne interesting aspect of attribute selectors is that they can be compounded for increasing levels of specificity. Attribute selectors are assigned a specificity level of ten, the same as class selectors, but both class and attribute selectors can be chained together, giving them more and more specificity with each link. Some examples:\n\n.box {  } \n/* Specificity of 10 */\n\n.box.promo {  } \n/* Specificity of 20 */\n\n[class*=box] {  } \n/* Specificity of 10 */\n\n[class*=box][class*=promo] {  } \n/* Specificity of 20 */\n\nYou can chain both types together, too:\n\n.box[class*=promo] {  } \n/* Specificity of 20 */\n\nI was amused to find, though, that you can chain the exact same class and attribute selectors for infinite levels of specificity\n\n.box {  } \n/* Specificity of 10 */\n\n.box.box {  } \n/* Specificity of 20 */\n\n.box.box.box {  } \n/* Specificity of 30 */\n\n[class*=box] {  }\n/* Specificity of 10 */\n\n[class*=box][class*=box] {  }\n/* Specificity of 20 */\n\n[class*=box][class*=box][class*=box] {  }\n/* Specificity of 30 */\n\n.box[class*=box].box[class*=box] {  } \n/* Specificity of 40 */\n\nTo override .box styles for promo, we wouldn\u2019t need to add an ID, change the order of .promo and .box in the CSS, or resort to an !important style. Granted, any issue that might need this fine level of specificity tweaking could probably be better solved with clever cascades, but having options never hurts.\n\nSmarter CSS\n\nOne of the most powerful aspects of the class-attribute selector is its ability to expand the simple logic found in CSS. When developing Gridset (an online tool for building grids and outputting them as CSS), I realized that with the right class name conventions, class-attribute selectors would allow the CSS to be smart enough to automatically adjust for column offsets without the need for extra classes. This imbued the CSS output with logic that other frameworks lacked, and makes a developer\u2019s job much easier. \n\nSay you need an element that spans column five (c5) to column six (c6) on your grid, and is preceded by an element spanning column one (c1) to column three (c3). The CSS can anticipate such a scenario:\n\n.c1-c3 + .c5-c6 {\n  margin-left: 25%; /* \u2026or the width of column four plus two gutter widths */\n}\n\n\u2026but to accommodate all of the margin offsets that could span that same gap, we would need to write a rather protracted list for just a six column grid:\n\n.c1-c3 + .c5-c6,\n.c1-c3 + .c5,\n.c2-c3 + .c5-c6,\n.c2-c3 + .c5,\n.c3 + .c5-c6,\n.c3 + .c5 {\n  margin-left: 25%; \n}\n\nNow imagine how the verbosity compounds when we repeat this type of declaration for every possible margin in a grid. The more columns added to the grid, the longer this selector list would get, too, making the CSS harder for the developer to maintain and slowing the load time. Using class-attribute selectors, though, this can be much simpler:\n\n[class*=c3] + [class*=c5] {\n  margin-left: 25%;\n}\n\nI\u2019ve detailed how we extract as much logic as possible from as little CSS as needed on the Gridset blog.\n\nMore flexible selectors\n\nIn a recent project, I was working with Drupal-generated classes to change styles for certain special pages on a site. Without being able to change the code base, I was left trying to find some specific aspect of the generated HTML to target. I noticed that every special page was given a prefixed class, unique to the page, resulting in CSS like this:\n\n.specialpage-about,\n.specialpage-contact,\n.specialpage-info,\n\u2026\n\n\u2026and the list kept growing with each new special page. Such bloat would lead to problems down the line, and add development overhead to editorial decisions, which was a situation we were trying to avoid. I was easily able to fix this, though, with a concise class-attribute selector:\n\n[class*=specialpage-]\n\nThe CSS was now flexible enough to accommodate both the editorial needs of the client, and the development restrictions of the CMS.\n\nSelector performance\n\nAs Snook tells us in his chapter on Selector Performance, selectors are read by the browser from right to left, matching every element that adheres to each rule (or part of the selector). The more specific we can make the right-most rules \u2013 and every other part of your selectors \u2013 the more performant your CSS will be. So this selector:\n\n.home-page .promo .main-header\n\n\u2026would be more performant than:\n\n.home-page div header\n\n\u2026because there are likely many more header and div elements on the page, but not so many elements with those specific classes.\n\nNow, the class-attribute selector could be more general than a class selector, but not by much. I ran numerous tests based on the work of Steve Souders (and a few others) to test a class-attribute selector against a normal class selector. Given that Javascript will freeze during style rendering, I created a script that will add, then remove, a stylesheet on a page 5000 times, and measure only the time that elapses during the rendering freeze. The script runs four tests, essentially: one where a class selector and class-attribute Selector match a single element, and one they match multiple elements on the page.\n\nAfter running the test over 100 times and averaging the results, I have not seen a significant difference in rendering times. (As of this writing, the class-attribute selector has been 0.398% slower on average.) View the results here.\n\nGiven the sheer amount of bytes potentially saved by reducing selector lists, though, I am confident class-attribute selectors could shorten load times on larger sites and, at the very least, save precious development time.\n\nConclusion\n\nWith its flexibility and broad remit, class has at times been derided as too lenient, allowing CMSes and lazy developers to fill its values with presentational hacks or verbose gibberish. There have even been calls for an early retirement. Class continues, though, to be one of our most crucial tools.\n\nFront-end developers are rightfully eager to expand production abilities through innovations such as Sass or LESS, but this should not preclude us from honing the tools we already know as well. Every technique demonstrated in this article was achievable over a decade ago and most of the same thinking could be applied to IDs, rels, or any other attribute (though the reasons listed above give class an edge). The recent advent of methods such as object-oriented CSS and SMACSS shows there is still much room left to expand what simple HTML and CSS can accomplish. Progress may not always be found in the innovation of our tools, but through sharpening our understanding of them.", "year": "2012", "author": "Nathan Ford", "author_slug": "nathanford", "published": "2012-12-15T00:00:00+00:00", "url": "https://24ways.org/2012/a-harder-working-class/", "topic": "code"}
{"rowid": 82, "title": "Being Prepared To Contribute", "contents": "\u201cYou\u2019ll figure it out.\u201d The advice my dad gives has always been the same, whether addressing my grade school homework or paying bills after college. If I was looking for a shortcut, my dad wasn\u2019t going to be the one to provide it.\n\nWhen I was a kid it infuriated the hell out of me, but what I then perceived to be a lack of understanding turned out to be a keystone in my upbringing. As an adult, I realize the value in not receiving outright solutions, but being forced to figure things out. \n\nEven today, when presented with a roadblock while building for the web, I am temped to get by with the help of the latest grid system, framework, polyfill, or plugin. In and of themselves these resources are harmless, but before I can drop them in, those damn words still echo in the back of my mind: \u201cYou\u2019ll figure it out.\u201d\n\nI know that if I blindly implement these tools as drag and drop solutions I fail to understand the intricacies behind how and why they were built; repeatedly using them as shortcuts handicaps my skill set. When I solely rely on the tools of others, my work is at their mercy, leaving me less creative and resourceful, and, thus, less able to contribute to the advancement of our industry and community. \n\nOne of my favorite things about this community is how generous and collaborative it can be. I\u2019ve loved seeing FitVids used all over the web and regularly improved upon at Github. I bet we can all think of a time where implementing a shared resource has benefitted our own work and sanity. Because these resources are so valuable, it\u2019s important that we continue to be a part of the conversation in order to further develop solutions and ideas. It\u2019s easy to assume there\u2019s someone smarter or more up-to-date in any one area, but with a degree of understanding and perspective, we can all participate. \n\nThis open form of collaboration is in our web DNA. After all, its primary purpose was to promote the exchange and development of new ideas.\n\n\n\tTim Berners-Lee proposed a global hypertext project, to be known as the World Wide Web. Based on the earlier \u201cEnquire\u201d work, it was designed to allow people to work together by combining their knowledge in a web of hypertext documents.\n\n\nI\u2019m delighted to find that this spirit of collaborative ingenuity is alive and well on the web today. Take the story of Off Canvas as an example. I was at an ATX Dribbble meet up where I met Jason Weaver and chatted to him about his recent work on the responsive layout prototype, Off Canvas. Jason said he came across a post by Luke Wroblewski outlining the idea and saw this:\n\n\n\tIf anyone is interested in building a complete example of this approach using responsive Web design techniques, let me know!\n\n\nFrom there Luke recounts: \n\n\n\tWe went back and forth on email, with me laying out ideas and Jason doing all the hard work to see if they can be done and improving them bit by bit! Once we got to something we both liked, I wrote up an article explaining things and he hosted the examples.\n\n\nLuke took the time to clearly outline and diagram his ideas, and Jason responded with a solid proof of concept that has evolved into a tool we all have at our disposal. Victory!\n\nI have also benefitted from comrades who have taken an idea of mine into development. After blogging about some concerns in regards to maintaining hierarchy as media queries are used to shift layouts, Jordan Moore rebounded with some responsive demos where he used flexbox to (re)order content as viewport sizing changes.\n\nSimilar stories can be found behind the development of things like FitVids, FitText, and Molten Leading. I love this pattern of collaboration because it involves a fairly specific process:\n\n\n\tInitial idea or prototype is outlined or built, then shared\n\tDiscuss\n\tSomeone develops or improves it, then shares it\n\tDiscuss\n\tSomeone else develops or improves it, then shares it.\n\tInfinity.\n\n\nThis is what the web looks like when we build it together, and I\u2019d argue that steps 2+ are absolutely crucial. A web where everyone develops their own ideas and tools independent of one another is like a room full of people talking and no one listening. \n\n\n\nThe pattern itself mimics a literal web structure, and ideally we\u2019d be able to follow a strand from one idea to the next and so on.\n\nBlessed are the curators\n\nSometimes those lines aren\u2019t easy to find or follow. Thankfully, there are people who painstakingly log each experiment and index much of what\u2019s out there. Chris Coyier does this with CSS in general, and Brad Frost is doing this for responsive and multi-device design with his Pattern Library. Seriously, take a look at this page and imagine what it would take to find, track and organize the progression of each of these resources yourself. I\u2019d argue that ongoing collections like these are more valuable than the sum of their parts when they are updated regularly as opposed to a top ten tips blog post format.\n\nHere\u2019s my soapbox\n\nHere are a few things I appreciate about how things are shared and contributed online. And yes, I could do way better at all of them myself.\n\n\n\tConcise write-ups: honor others\u2019 time by getting to the point. Not every idea or solution needs two thousand words to convey fully. I love long-form posts, but there\u2019s a time and a place for them.\n\tVisual aids: if a quick illustration, screenshot, or graphic helps illustrate your point or problem, yes please.\n\n\nBy the way, Luke Wroblewski rules the school on both of these.\n\n\n\tDemo it: host it yourself, or put it on CodePen or JS Bin for others to see.\n\tPut it on Github: share and improve with the rest of the community. Consider, however, that because someone puts something on Github doesn\u2019t mean they\u2019re forever bound to provide support or instruction.\n\n\nThis isn\u2019t a call for everyone to learn everything all the time, but if you\u2019re curious or interested in something, skip the shortcut and get your hands dirty: sketch, prototype, question, debate, fork, and share. Figuring these things out on our own makes us valuable contributors to the web \u2013 the thing that ultimately we\u2019re all trying to figure out together.", "year": "2012", "author": "Trent Walton", "author_slug": "trentwalton", "published": "2012-12-03T00:00:00+00:00", "url": "https://24ways.org/2012/being-prepared-to-contribute/", "topic": "process"}
{"rowid": 77, "title": "Colour Accessibility", "contents": "Here\u2019s a quote from Josef Albers:\n\nIn visual perception a colour is almost never seen as it really is[\u2026] This fact makes colour the most relative medium in art.Josef Albers, Interaction of Color, 1963\n\nAlbers was a German abstract painter and teacher, and published a very famous course on colour theory in 1963. Colour is very relative \u2014 not just in the way that it appears differently across different devices due to screen quality and colour management, but it can also be seen differently by different people \u2014 something we really need to be more mindful of when designing.\n\nWhat is colour blindness?\n\nColour blindness very rarely means that you can\u2019t see any colour at all, or that people see things in greyscale. It\u2019s actually a decreased ability to see colour, or a decreased ability to tell colours apart from one another. \n\nHow does it happen?\n\nInside the typical human retina, there are two types of receptor cells \u2014 rods and cones. Rods are the cells that allow us to see dark and light, and shape and movement. Cones are the cells that allow us to perceive colour. There are three types of cones, each responsible for absorbing blue, red, and green wavelengths in the spectrum.\n\nProblems with colour vision occur when one or more of these types of cones are defective or absent entirely, and these problems can either be inherited through genetics, or acquired through trauma, exposure to ultraviolet light, degeneration with age, an effect of diabetes, or other factors.\n\nColour blindness is a sex-linked trait and it\u2019s much more common in men than in women. The most common type of colour blindness is called deuteranomaly which occurs in 7% of males, but only 0.5% of females. That\u2019s a pretty significant portion of the population if you really stop and think about it \u2014\u00a0we can\u2019t ignore this demographic.\n\nWhat does it look like?\n\nPeople with the most common types of colour blindness, like protanopia and deuteranopia, have difficulty discriminating between red and green hues. There are also forms of colour blindness like tritanopia, which affects perception of blue and yellow hues. Below, you can see what a colour wheel might look like to these different people.\n\n\n\nWhat can we do?\n\nHere are some things you can do to make your websites and apps more accessible to people with all types of colour blindness.\n\nInclude colour names and show examples\n\nOne of the most common annoyances I\u2019ve heard from people who are colour-blind is that they often have difficulty purchasing clothing and they will sometimes need to ask another person for a second opinion on what the colour of the clothing might actually be. While it\u2019s easier to shop online than in a physical store, there are still accessibility issues to consider on shopping websites.\n\nLet\u2019s say you\u2019ve got a website that sells T-shirts. If you only show a photo of the shirt, it may be impossible for a person to tell what colour the shirt really is. For clarification, be sure to reference the name of the colour in the description of the product.\n\n\n\nUnited Pixelworkers does a great job of following this rule. The St. John\u2019s T-shirt has a quirky palette inspired by the unofficial pink, white and green Newfoundland flag, and I can imagine many people not liking it.\n\nAnother common problem occurs when a colour filter has been added to a product search. Here\u2019s an example from a clothing website with unlabelled colour swatches, and how that might look to someone with deuteranopia-type colour blindness.\n\n\n\nThe colour search filter below, from the H&M website, is much better since it uses names instead.\n\n\n\nAt first glance, Urban Outfitters also uses unlabelled colour swatches on product pages (below), but on closer inspection, the colour name is displayed on hover. This isn\u2019t an ideal solution, because although it\u2019ll work on a desktop browser, it won\u2019t work on a touchscreen device where hovering isn\u2019t an option. \n\n\n\nUsing overly fancy colour names, like the ones you might find labelling high-end interior paint can be just as confusing as not using a colour name at all. Names like grape instead of purple don\u2019t really give the viewer any useful information about what the colour actually is on a colour wheel. Is grape supposed to be purple, or could it refer to red grapes or even green? Stick with hue names as much as possible.\n\nAvoid colour-specific instructions\n\nWhen designing forms, avoid labelling required fields only with coloured text. It\u2019s safer to use a symbol cue like the asterisk which is colour-independent. \n\n\n\nA similar example would be directing a user to click a green button to purchase a product. Label your buttons clearly and reference them in the site copy by function, not colour, to avoid confusion.\n\nDon\u2019t rely on colour coding\n\nDesigning accessible maps and infographics can be much more challenging. \n\nDon\u2019t rely on colour coding alone \u2014 try to use a combination of colour and texture or pattern, along with precise labels, and reflect this in the key or legend. Combine a blue background with a crosshatched pattern, or a pink background with a stippled dot \u2014 your users will always have two pieces of information to work with.\n\n\n\nThe map of the London subway system is an iconic image not just in London, but around the world. Unfortunately, it contains some colours that are indistinguishable from each other to a person with a vision problem. This is true not only for the London underground, but also for any other wayfinding system that relies on colour coding as the only key in a legend. \n\n\n\nThere are printable versions of the map available online in black and white, using patterns and shades of black and grey that are distinguishable, but the point is that there would be no need for such a map if it were designed with accessibility in mind from the beginning. And, if you\u2019re a person who has a physical disability as well as a vision problem, the \u201cStep-Free\u201d guide map which shows stations is based on the original coloured map. \n\n\n\nProvide alternatives and customization\n\nWhile it\u2019s best to consider these issues and design your app to be accessible by default, sometimes this might not be possible. Providing alternative styles or allowing users to edit their own colours is a feature to keep in mind.\n\nThe developers of the game Faster Than Light created an alternate colour-blind mode and asked for public feedback to make sure that it passed the test. Not much needed to be done, but you can see they added stripes to the red zones and changed some outlines to blue.\n\n\n\niChat is also a good example. Although by default it uses coloured bubbles to indicate a user\u2019s status (available for chat, away or idle, or busy), included in the preferences is a \u201cUser Shapes to Indicate Status\u201d option, which changes the shape of the standard circles to green circles, yellow triangles and red squares.\n\n\n\nPay attention to contrast  \n\nColours that are similar in value but different in hue may be easy to distinguish between for a user with good vision, but a person who suffers from colour blindness may not be able to tell them apart at all. Proofing your work in greyscale is a quick way to tell if there\u2019s enough contrast between the most important information in your design.\n\nCheck with a simulator\n\nThere are many tools out there for simulating different types of colour blindness, and it\u2019s worth checking your design to catch any potential problems up front. \n\nOne is called Sim Daltonism and it\u2019s available for Mac OS X. It\u2019ll show a pop-up preview next to your cursor and you can choose which type of colour blindness you want to test from a drop-down menu. \n\n\n\nYou can also proof for the two most common types of colour blindness right in Photoshop or Illustrator (CS4 and later) while you\u2019re designing. \n\n\n\nThe colour contrast check tool from designer and developer Jonathan Snook gives you the option to enter a colour code for a background, and a colour code for text, and it\u2019ll tell you if the colour contrast ratio meets the Web Content Accessibility Guidelines 2.0. You can use the built-in sliders to adjust your colours until they meet the compliant contrast ratios. This is a great tool to test your palette before going live.\n\n\n\nFor live websites, you can use the accessibility tool called WAVE, which also has a contrast checker. It\u2019s important to keep in mind, though, that while WAVE can identify contrast errors in text, other things can slip through, so a site that passes the test does not automatically mean it\u2019s accessible in reality.\n\nFor example, the contrast checker here doesn\u2019t notice that our red link in the introduction isn\u2019t underlined, and therefore could blend into the surrounding paragraph text. \n\n\n\nI know that once I started getting into the habit of checking my work in a simulator, I became more mindful of any potential problem areas and it was easier to avoid them up front. It\u2019s also made me question everything I see around me and it sends red flags off in my head if I think it\u2019s a serious colour blindness fail. Understanding that colour is relative in the planning stages and following these tips will help us make more accessible design for all.", "year": "2012", "author": "Geri Coady", "author_slug": "gericoady", "published": "2012-12-04T00:00:00+00:00", "url": "https://24ways.org/2012/colour-accessibility/", "topic": "design"}
{"rowid": 87, "title": "Content Planning Demystified", "contents": "The first thing you learn as a junior editor is that you can\u2019t do everything yourself. You must rely on someone else to do at least part of what must be done: the long-range planning, the initial drafting or shooting or recording, the editing, the production, the final polish. All of those pieces of work that belong to someone else take quite a lot of time \u2014 days, weeks, sometimes months. If you\u2019re the sort of person who wrote college term papers the night before they were due, this can come as a bit of a shock. To my twenty-two-year-old self, it certainly did. \n\nIt turns out that the only real way to avoid a trainwreck with editorial work is to get ahead of the trouble, line everything up carefully, and leave oodles of room for all the pieces to connect on time. The same is true of content strategy, content planning, and just about everything to do with content on the web, except for the writing itself \u2014 and that, too, usually takes far longer than anyone expects. If you\u2019re not a professional editor and you suddenly find yourself dealing with content creation, you\u2019re almost certainly going to underestimate the time and effort involved, or to skip something important in the planning process that pops up to bite you later. \n\nWithout good content, it doesn\u2019t matter how well designed or coded your web project is, because it won\u2019t be doing the thing it\u2019s meant to do. And even if content is far from your specialty, you may well end up being the only one willing to coordinate it far enough in advance to avoid a chaotic ending. Whether you\u2019re hiring writers and editors for a big project, working with a small client, or coaxing some editorial help out of a co-worker, getting the planning work done correctly \u2014 and ahead of time \u2014 will allow you to orchestrate a glorious ballet of togetherness, instead of feverishly scraping together something to put on your site when the deadline looms. So get out the graph paper and the pocket protector, because we\u2019re going to go Full Nerd on this problem.\n\nKnow your poison\n\nAnyone who\u2019s seen a project delayed for six months by content trouble, or derailed by content that\u2019s bland and unhelpful, knows this stuff can make you feel like a dead sock. To get ahead of the problem, you\u2019re going to have to learn to spot common problems and plan your way around them. On web projects without a dedicated editorial lead, you\u2019re likely to encounter content that is:\n\n\n\tUseless \u2013 Content that doesn\u2019t serve your readers\u2019 needs in some way is pointless. And because it takes up your time and crowds out genuinely helpful things, it\u2019s actually damaging. The logic is simple: you can make content that\u2019s all about you, and that serves your stated messaging goals, but if no one is motivated to read it, it\u2019s a waste of everyone\u2019s time.\n\tBadly written \u2013 When you publish articles or instructions or other content that is too stiffly formal, overly wordy, hard to understand, offensive, unintentionally cheesy, or otherwise off in tone or style, you\u2019re doing two things. First, you\u2019re weakening the information you\u2019re trying to convey by making it obscure or annoying. Second \u2014 and this one is even more damaging \u2014 you\u2019re demonstrating bad taste. When you get the cultural elements of publishing wrong, you encourage your readers to believe that you either don\u2019t understand them or don\u2019t care about getting it wrong.\n\tGooey \u2013 Content strategists have been talking about structured content (that\u2019s chunks versus blobs) for years. If you\u2019re publishing more than a few dozen pages without thinking through the structure of your content, you\u2019re probably missing a chance to improve your long-term efficiency. If you\u2019re publishing more than a couple of thousand pages without taking care of your content structure, you\u2019re probably doing a lot more manual wrangling (or cumbersome CMS work) than you need to be, especially when it comes to cross-platform publishing.\n\tUnregulated \u2013 If you\u2019re not tracking what works and what doesn\u2019t \u2014 and especially if you don\u2019t know what \u201cworks\u201d means for your project or organization \u2014 you\u2019re almost certainly getting worse results than you should be, for more work.\n\tOverabundant \u2013 As demonstrated by the cinnamon challenge, too much of a delicious thing can be a giant and publicly embarrassing disaster. For most projects and organizations, if you\u2019re making more stuff than your readers can handle, or if you\u2019re spreading your creative and editorial resources too thinly, that\u2019s bad. Spammers, content farms, and barrel-bottom tabloids have their own special math, the side effects of which include insomnia, irritability, and crying in traffic while silently mouthing Wilson Phillips lyrics.\n\n\n\nPrevent all preventable damage\n\nOnce you know what kind of trouble to look for, you can prevent a lot of it by doing some smart planning well before someone starts writing (or recording or shooting video).\n\n\n\tTo prevent uselessness: Know your readers and decide what you\u2019re trying to accomplish \u2014 with your website as a whole, and with each piece of content, always. Once you know what you\u2019re trying to achieve, you can evaluate your work as you go to make sure that it\u2019s actually doing the right thing. (I\u2019ve written a lot more about this for A List Apart and in The Elements of Content Strategy.)\n\tTo prevent bad writing: Establish a consistent and appropriate style using examples (and a style guide if you need one), designate an editor, hire good writers, and make time for quality control. Kate Kiefer\u2019s style guide for MailChimp is a superb example of style-wrangling that everyone can use.\n\tTo prevent repulsive goo: Give your content as much structure as possible, and know how structure relates to your entire publishing ecosystem, including all those mobile devices. Sara Wachter-Boettcher\u2019s Content Everywhere and Karen McGrane\u2019s Content Strategy for Mobile offer brilliant yet friendly introductions to the wide world of structured content.\n\tTo prevent unregulated chaos: Measure everything that matters to your project, your client, your organization, and especially your readers \u2014 not generic measures of someone else\u2019s success. Measure it all regularly. Be disciplined. Adjust at regular intervals. Rick Allen\u2019s series on content strategy analytics is an excellent place to begin (part one; part two).\n\tTo prevent overabundance: Stop trying to do everything and focus on giving your readers just a few things they want and genuinely need. Don\u2019t establish a schedule your writers might not be able to keep, and focus on differentiating yourself with quality, not quantity. (And while you\u2019re at it, scratch the auto-posting to social networks and the cross-posting between them. It\u2019s about as engaging as an automated phone system.)\n\n\nAt a slightly higher level, pick the right content person (or team) for the work. If you really only need a few pages of copy, find a smart writer who does good work for multi-platform readers. If you\u2019re slinging tens of thousands of pages of content, get someone with field experience in high-level editorial planning and the ability to turn blobs into chunks and melted goo into Legos. If you\u2019re starting a project that involves making a lot of content over time, bring in someone with journalism experience (or get your client to do so). \n\n\u201cBut wait!\u201d you may say. \u201cI\u2019m not hiring anyone. I have to do this all myself.\u201d That\u2019s not uncommon at all. The bad news is, you have to learn a bunch of stuff. The good news is, you get to learn a bunch of awesome stuff. Figure out what the project needs, just as though you were going to hire someone, and then give yourself time to get up to speed. If it\u2019s a really complicated project, you\u2019re probably going to have trouble unless you eventually get professional help. But if it\u2019s small and you can do it in steps, you can certainly do much better by giving yourself a plan and working on the things that matter most.\n\n\nPlan for the marathon, not the sprint\n\nLaunching with awesome content is a tiny fraction of a victory, which is why it\u2019s so important that your content not be gooey or unregulated. It also means that if you don\u2019t plan for a realistic publication schedule, you are going to slam into reality in a really unpleasant way not too long after you\u2019ve begun. If you\u2019re asking people to make words (or videos or whatever) for you, they\u2019re going to have to do less of something else, so plan for that beforehand. \n\nAnd while you\u2019re at it, unless publishing is your core business, ditch the feed-the-beast plan that leads to fluffy blog posts and spiritless, unhelpful social media content. It\u2019s antisocial for your reading community, offers short-term gains at best, and will burn you out or lower your standards until you don\u2019t even know you\u2019re doing lousy work. Good content is expensive, no matter how you do it, but spreading yourself too thin is a much worse investment than doing a smaller thing well and gradually building up a body of superb content that people want to share and keep and return to.", "year": "2012", "author": "Erin Kissane", "author_slug": "erinkissane", "published": "2012-12-20T00:00:00+00:00", "url": "https://24ways.org/2012/content-planning-demystified/", "topic": "content"}
{"rowid": 95, "title": "Giving Content Priority with CSS3 Grid Layout", "contents": "Browser support for many of the modules that are part of CSS3 have enabled us to use CSS for many of the things we used to have to use images for. The rise of mobile browsers and the concept of responsive web design has given us a whole new way of looking at design for the web. However, when it comes to layout, we haven\u2019t moved very far at all. We have talked for years about separating our content and source order from the presentation of that content, yet most of us have had to make decisions on source order in order to get a certain visual layout. \n\nOwing to some interesting specifications making their way through the W3C process at the moment, though, there is hope of change on the horizon. In this article I\u2019m going to look at one CSS module, the CSS3 grid layout module, that enables us to define a grid and place elements on to it. This article comprises a practical demonstration of the basics of grid layout, and also a discussion of one way in which we can start thinking of content in a more adaptive way.\n\nBefore we get started, it is important to note that, at the time of writing, these examples work only in Internet Explorer 10. CSS3 grid layout is a module created by Microsoft, and implemented using the -ms prefix in IE10. My examples will all use the -ms prefix, and not include other prefixes simply because this is such an early stage specification, and by the time there are implementations in other browsers there may be inconsistencies. The implementation I describe today may well change, but is also there for your feedback.\n\nIf you don\u2019t have access to IE10, then one way to view and test these examples is by signing up for an account with Browserstack \u2013 the free trial would give you time to have a look. I have also included screenshots of all relevant stages in creating the examples.\n\nWhat is CSS3 grid layout?\n\nCSS3 grid layout aims to let developers divide up a design into a grid and place content on to that grid. Rather than trying to fabricate a grid from floats, you can declare an actual grid on a container element and then use that to position the elements inside. Most importantly, the source order of those elements does not matter. \n\nDeclaring a grid\n\nWe declare a grid using a new value for the display property: display: grid. As we are using the IE10 implementation here, we need to prefix that value: display: -ms-grid;.\n\nOnce we have declared our grid, we set up the columns and rows using the grid-columns and grid-rows properties.\n\n.wrapper {\n    display: -ms-grid;\n    -ms-grid-columns: 200px 20px auto 20px 200px;\n    -ms-grid-rows: auto 1fr;\n}\n\nIn the above example, I have declared a grid on the .wrapper element. I have used the grid-columns property to create a grid with a 200 pixel-wide column, a 20 pixel gutter, a flexible width auto column that will stretch to fill the available space, another 20 pixel-wide gutter and a final 200 pixel sidebar: a flexible width layout with two fixed width sidebars. Using the grid-rows property I have created two rows: the first is set to auto so it will stretch to fill whatever I put into it; the second row is set to 1fr, a new value used in grids that means one fraction unit. In this case, one fraction unit of the available space, effectively whatever space is left.\n\nPositioning items on the grid\n\nNow I have a simple grid, I can pop items on to it. If I have a <div> with a class of .main that I want to place into the second row, and the flexible column set to auto I would use the following CSS:\n\n.content {\n    -ms-grid-column: 3;\n    -ms-grid-row: 2;\n    -ms-grid-row-span: 1;\n}\n\nIf you are old-school, you may already have realised that we are essentially creating an HTML table-like layout structure using CSS. I found the concept of a table the most helpful way to think about the grid layout module when trying to work out how to place elements.\n\nCreating grid systems\n\nAs soon as I started to play with CSS3 grid layout, I wanted to see if I could use it to replicate a flexible grid system like this fluid 16-column 960 grid system.\n\nI started out by defining a grid on my wrapper element, using fractions to make this grid fluid.\n\n.wrapper {\t \n    width: 90%;\n    margin: 0 auto 0 auto;\n    display: -ms-grid;\n    -ms-grid-columns: 1fr (4.25fr 1fr)[16];\n    -ms-grid-rows: (auto 20px)[24];\n}\n\nLike the 960 grid system I was using as an example, my grid starts with a gutter, followed by the first actual column, plus another gutter repeated sixteen times. What this means is that if I want to span two columns, as far as the grid layout module is concerned that is actually three columns: two wide columns, plus one gutter. So this needs to be accounted for when positioning items.\n\nI created a CSS class for each positioning option: column position; rows position; and column span. For example:\n\n.grid1 {-ms-grid-column: 2;} /* applying this class positions an item in the first column (the gutter is column 1) */\n.grid2 {-ms-grid-column: 4;} /* 2nd column - gutter|column 1|gutter */\n.grid3 {-ms-grid-column: 6;} /* 3rd column - gutter|column 1|gutter|column2|gutter */\n\n.row1 {-ms-grid-row:1;}\n.row2 {-ms-grid-row:3;}\n.row3 {-ms-grid-row:5;}\n\n.colspan1 {-ms-grid-column-span:1;}\n.colspan2 {-ms-grid-column-span:3;}\n.colspan3 {-ms-grid-column-span:5;}\n\nI could then add multiple classes to each element to set the position on on the grid.\n\n\n\nThis then gives me a replica of the fluid grid using CSS3 grid layout. To see this working fire up IE10 and view Example 1.\n\nThis works, but\u2026\n\nThis worked, but isn\u2019t ideal. I considered not showing this stage of my experiment \u2013 however, I think it clearly shows how the grid layout module works and is a useful starting point. That said, it\u2019s not an approach I would take in production. First, we have to add classes to our markup that tie an element to a position on the grid. This might not be too much of a problem if we are always going to maintain the sixteen-column grid, though, as I will show you that the real power of the grid layout module appears once you start to redefine the grid, using different grids based on media queries. If you drop to a six-column layout for small screens, positioning items into column 16 makes no sense any more.\n\nCalculating grid position using LESS\n\nAs we\u2019ve seen, if you want to use a grid with main columns and gutters, you have to take into account the spacing between columns as well as the actual columns. This means we have to do some calculating every time we place an item on the grid. In my example above I got around this by creating a CSS class for each position, allowing me to think in sixteen rather than thirty-two columns. But by using a CSS preprocessor, I can avoid using all the classes yet still think in main columns.\n\nI\u2019m using LESS for my example. My simple grid framework consists of one simple mixin.\n\n.position(@column,@row,@colspan,@rowspan) {\n    -ms-grid-column: @column*2;\n    -ms-grid-row: @row*2-1;\n    -ms-grid-column-span: @colspan*2-1;\n    -ms-grid-row-span: @rowspan*2-1;\n}\n\nMy mixin takes four parameters: column; row; colspan; and rowspan. So if I wanted to place an item on column four, row three, spanning two columns and one row, I would write the following CSS:\n\n.box {\n    .position(4,3,2,1);\n}\n\nThe mixin would return:\n\n.box {\n    -ms-grid-column: 8;\n    -ms-grid-row: 5;\n    -ms-grid-column-span: 3;\n    -ms-grid-row-span: 1;\n}\n\nThis saves me some typing and some maths. I could also add other prefixed values into my mixin as other browsers started to add support.\n\nWe can see this in action creating a new grid. Instead of adding multiple classes to each element, I can add one class; that class uses the mixin to create the position. I have also played around with row spans using my mixin and you can see we end up with a quite complicated arrangement of boxes. Have a look at example two in IE10. I\u2019ve used the JavaScript LESS parser so that you can view the actual LESS that I use. Note that I have needed to escape the -ms prefixed properties with ~\"\" to get LESS to accept them.\n\n\n\nThis is looking better. I don\u2019t have direct positioning information on each element in the markup, just a class name \u2013 I\u2019ve used grid(x), but it could be something far more semantic. We can now take the example a step further and redefine the grid based on screen width.\n\nMedia queries and the grid\n\nThis example uses exactly the same markup as the previous example. However, we are now using media queries to detect screen width and redefine the grid using a different number of columns depending on that width.\n\nI start out with a six-column grid, defining that on .wrapper, then setting where the different items sit on this grid:\n\n.wrapper {\t \n    width: 90%;\n    margin: 0 auto 0 auto;\n    display: ~\"-ms-grid\"; /* escaped for the LESS parser */\n    -ms-grid-columns: ~\"1fr (4.25fr 1fr)[6]\"; /* escaped for the LESS parser */\n    -ms-grid-rows: ~\"(auto 20px)[40]\"; /* escaped for the LESS parser */\n}\n.grid1 { .position(1,1,1,1); } \n.grid2 { .position(2,1,1,1); } \n/* ... see example for all declarations ... */\n\n\n\nUsing media queries, I redefine the grid to nine columns when we hit a minimum width of 700 pixels.\n\n@media only screen and (min-width: 700px) {\n.wrapper {\n    -ms-grid-columns: ~\"1fr (4.25fr 1fr)[9]\";\n    -ms-grid-rows: ~\"(auto 20px)[50]\";\n}\n.grid1 { .position(1,1,1,1); } \n.grid2 { .position(2,1,1,1); } \n/* ... */\n}\n\n\n\nFinally, we redefine the grid for 960 pixels, back to the sixteen-column grid we started out with.\n\n@media only screen and (min-width:  940px) {\n.wrapper {\t \n    -ms-grid-columns:~\" 1fr (4.25fr 1fr)[16]\";\n    -ms-grid-rows:~\" (auto 20px)[24]\";\n}\n.grid1 { .position(1,1,1,1); } \n.grid2 { .position(2,1,1,1); } \n/* ... */\n}\n\nIf you view example three in Internet Explorer 10 you can see how the items reflow to fit the window size. You can also see, looking at the final set of blocks, that source order doesn\u2019t matter. You can pick up a block from anywhere and place it in any position on the grid.\n\nLaying out a simple website\n\nSo far, like a toddler on Christmas Day, we\u2019ve been playing with boxes rather than thinking about what might be in them. So let\u2019s take a quick look at a more realistic layout, in order to see why the CSS3 grid layout module can be really useful. At this time of year, I am very excited to get out of storage my collection of odd nativity sets, prompting my family to suggest I might want to open a museum. Should I ever do so, I\u2019ll need a website, and here is an example layout.\n\n\n\nAs I am using CSS3 grid layout, I can order my source in a logical manner. In this example my document is as follows, though these elements could be in any order I please:\n\n<div class=\"wrapper\">\n  <div class=\"welcome\">\n  ...\n  </div>\n  <article class=\"main\">\n  ...\n  </article>\n  <div class=\"info\">\n  ...\n  </div>\n  <div class=\"ads\">\n  ...\n  </div>\n</div>\n\nFor wide viewports I can use grid layout to create a sidebar, with the important information about opening times on the top righ,t with the ads displayed below it. This creates the layout shown in the screenshot above.\n\n@media only screen and (min-width:  940px) {\n  .wrapper {\t \n    -ms-grid-columns:~\" 1fr (4.25fr 1fr)[16]\";\n    -ms-grid-rows:~\" (auto 20px)[24]\";\n  }\n  .welcome {\n    .position(1,1,12,1);\n    padding: 0 5% 0 0;\n  }\n  .info {\n    .position(13,1,4,1);\n    border: 0;\n    padding:0;\n   }\n  .main {\n    .position(1,2,12,1);\n    padding: 0 5% 0 0;\n  }  \n  .ads {\n    .position(13,2,4,1);\n    display: block;\n    margin-left: 0;\n  }\n}\n\nIn a floated layout, a sidebar like this often ends up being placed under the main content at smaller screen widths. For my situation this is less than ideal. I want the important information about opening times to end up above the main article, and to push the ads below it. With grid layout I can easily achieve this at the smallest width .info ends up in row two and .ads in row five with the article between.\n\n.wrapper {\t \n  display: ~\"-ms-grid\";\n  -ms-grid-columns: ~\"1fr (4.25fr 1fr)[4]\";\n  -ms-grid-rows: ~\"(auto 20px)[40]\";\n}\n.welcome {\n    .position(1,1,4,1);\n}\n.info {\n    .position(1,2,4,1);\n    border: 4px solid #fff;\n    padding: 10px;\n}\n.content {\n    .position(1,3,4,5);\n}\n.main {\n    .position(1,3,4,1);\n}\n.ads {\n    .position(1,4,4,1);\n}\n\n\n\nFinally, as an extra tweak I add in a breakpoint at 600 pixels and nest a second grid on the ads area, arranging those three images into a row when they sit below the article at a screen width wider than the very narrow mobile width but still too narrow to support a sidebar. \n\n@media only screen and (min-width:  600px) {\n  .ads {\n    display: ~\"-ms-grid\";\n    -ms-grid-columns: ~\"20px 1fr 20px 1fr 20px 1fr\";\n    -ms-grid-rows: ~\"1fr\";\n    margin-left: -20px;\n  }\n  .ad:nth-child(1) {\n    .position(1,1,1,1);\n  }\n  .ad:nth-child(2) {\n    .position(2,1,1,1);\n  }\n  .ad:nth-child(3) {\n    .position(3,1,1,1);\n  }\n}\n\nView example four in Internet Explorer 10.\n\n\n\nThis is a very simple example to show how we can use CSS grid layout without needing to add a lot of classes to our document. It also demonstrates how we can mainpulate the content depending on the context in which the user is viewing it.\n\nLayout, source order and the idea of content priority\n\nCSS3 grid layout isn\u2019t the only module that starts to move us away from the issue of visual layout being linked to source order. However, with good support in Internet Explorer 10, it is a nice way to start looking at how this might work. If you look at the grid layout module as something to be used in conjunction with the flexible box layout module and the very interesting CSS regions and exclusions specifications, we have, tantalizingly on the horizon, a powerful set of tools for layout.\n\nI am particularly keen on the potential separation of source order from layout as it dovetails rather neatly into something I spend a lot of time thinking about. As a CMS developer, working on larger scale projects as well as our CMS product Perch, I am interested in how we better enable content editors to create content for the web. In particular, I search for better ways to help them create adaptive content; content that will work in a variety of contexts rather than being tied to one representation of that content.\n\nIf the concept of adaptive content is new to you, then Karen McGrane\u2019s presentation Adapting Ourselves to Adaptive Content is the place to start. Karen talks about needing to think of content as chunks, that might be used in many different places, displayed differently depending on context.\n\nI absolutely agree with Karen\u2019s approach to content. We have always attempted to move content editors away from thinking about creating a page and previewing it on the desktop. However at some point content does need to be published as a page, or a collection of content if you prefer, and bits of that content have priority. Particularly in a small screen context, content gets linearized, we can only show so much at a time, and we need to make sure important content rises to the top. In the case of my example, I wanted to ensure that the address information was clearly visible without scrolling around too much. Dropping it with the entire sidebar to the bottom of the page would not have been so helpful, though neither would moving the whole sidebar to the top of the screen so a visitor had to scroll past advertising to get to the article.\n\nIf our layout is linked to our source order, then enabling the content editor to make decisions about priority is really hard. Only a system that can do some regeneration of the source order on the server-side \u2013 perhaps by way of multiple templates \u2013 can allow those kinds of decisions to be made. For larger systems this might be a possibility; for smaller ones, or when using an off-the-shelf CMS, it is less likely to be. Fortunately, any system that allows some form of custom field type can be used to pop a class on to an element, and with CSS grid layout that is all that is needed to be able to target that element and drop it into the right place when the content is viewed, be that on a desktop or a mobile device.\n\nThis approach can move us away from forcing editors to think visually. At the moment, I might have to explain to an editor that if a certain piece of content needs to come first when viewed on a mobile device, it needs to be placed in the sidebar area, tying it to a particular layout and design. I have to do this because we have to enforce fairly strict rules around source order to make the mechanics of the responsive design work. If I can instead advise an editor to flag important content as high priority in the CMS, then I can make decisions elsewhere as to how that is displayed, and we can maintain the visual hierarchy across all the different ways content might be rendered.\n\nWhy frustrate ourselves with specifications we can\u2019t yet use in production?\n\nThe CSS3 grid layout specification is listed under the Exploring section of the list of current work of the CSS Working Group. While discussing a module at this stage might seem a bit pointless if we can\u2019t use it in production work, there is a very real reason for doing so. If those of us who will ultimately be developing sites with these tools find out about them early enough, then we can start to give our feedback to the people responsible for the specification. There is information on the same page about how to get involved with the disussions.\n\nSo, if you have a bit of time this holiday season, why not have a play with the CSS3 grid layout module? I have outlined here some of my thoughts on how grid layout and other modules that separate layout from source order can be used in the work that I do. Likewise, wherever in the stack you work, playing with and thinking about new specifications means you can think about how you would use them to enhance your work. Spot a problem? Think that a change to the specification would improve things for a specific use case? Then you have something you could post to www-style to add to the discussion around this module.\n\nAll the examples are on CodePen so feel free to play around and fork them.", "year": "2012", "author": "Rachel Andrew", "author_slug": "rachelandrew", "published": "2012-12-18T00:00:00+00:00", "url": "https://24ways.org/2012/css3-grid-layout/", "topic": "code"}
{"rowid": 83, "title": "Cut Copy Paste", "contents": "Long before I got into this design thing, I was heavily into making my own music inspired by the likes of Coldcut and Steinski. I would scour local second-hand record shops in search of obscure beats, loops and bits of dialogue in the hope of finding that killer sample I could then splice together with other things to make a huge hit that everyone would love. While it did eventually lead to a record contract and getting to release a few 12\u2033 singles, ultimately I knew I\u2019d have to look for something else to pay the bills.\n\nI may not make my own records any more, but the approach I took back then \u2013 finding (even stealing) things, cutting and pasting them into interesting combinations \u2013 is still at the centre of how I work, only these days it\u2019s pretty much bits of code rather than bits of vinyl. Over the years I\u2019ve stored these little bits of code (some I\u2019ve found, some I\u2019ve created myself) in Evernote, ready to be dialled up whenever I need them. \n\nSo when Drew got in touch and asked if I\u2019d like to do something for this year\u2019s 24 ways I thought it might be kind of cool to share with you a few of these snippets that I find really useful. Think of these as a kind of coding mix tape; but remember \u2013 don\u2019t just copy as is: play around, combine and remix them into other wonderful things. \n\nSome of this stuff is dirty; some of it will make hardcore programmers feel ill. For those people, remember this \u2013 while you were complaining about the syntax, I made something.\n\nCreate unique colours\n\nLet\u2019s start right away with something I stole. Well, actually it was given away at the time by Matt Biddulph who was then at Dopplr before Nokia destroyed it. Imagine you have thousands of words and you want to assign each one a unique colour. Well, Matt came up with a crazily simple but effective way to do that using an MD5 hash. Just encode said word using an MD5 hash, then take the first six characters of the string you get back to create a hexadecimal colour representation. \n\nI can\u2019t guarantee that it will be a harmonious colour palette, but it\u2019s still really useful. The thing I love the most about this technique is the left-field thinking of using an encryption system to create colours! Here\u2019s an example using JavaScript:\n\n// requires the MD5 library available at http://pajhome.org.uk/crypt/md5\n\n  function MD5Hex(str){\n    result = MD5.hex(str).substring(0, 6);\n    return result;\n  }\n\nMake something breathe using a sine wave\n\nI never paid attention in school, especially during double maths. As a matter of fact, the only time I received corporal punishment \u2013 several strokes of the ruler \u2013 was in maths class. Anyway, if they had shown me then how beautiful mathematics actually is, I might have paid more attention. Here\u2019s a little example of how a sine wave can be used to make something appear to breathe. \n\nI recently used this on an Arduino project where an LED ring surrounding a button would gently breathe. Because of that it felt much more inviting. I love mathematics.\n\nfor(int i = 0; i<360; i++){    \n  float rad = DEG_TO_RAD * i;\n  int sinOut = constrain((sin(rad) * 128) + 128, 0, 255);\n  analogWrite(LED, sinOut);\n  delay(10);   \n}\n\nSnap position to grid\n\nThis is so elegant I love it, and it was shown to me by Gary Burgess, or Boom Boom as myself and others like to call him. It snaps a position, in this case the X-position, to a grid. Just define your grid size (say, twenty pixels) and you\u2019re good.\n\nsnappedXpos = floor( xPos / gridSize) * gridSize;\n\nCalculate the distance between two objects\n\nFor me, interaction design is about the relationship between two objects: you and another object; you and another person; or simply one object to another. How close these two things are to each other can be a handy thing to know, allowing you to react to that information within your design. Here\u2019s how to calculate the distance between two objects in a 2-D plane:\n\ndeltaX = round(p2.x-p1.x);\ndeltaY = round(p2.y-p1.y);\ndiff = round(sqrt((deltaX*deltaX)+(deltaY*deltaY)));\n\nFind the X- and Y-position between two objects\n\nWhat if you have two objects and you want to place something in-between them? A little bit of interruption and disruption can be a good thing. This small piece of code will allow you to place an object in-between two other objects:\n\n// set the position: 0.5 = half-way\t\n\nfloat position = 0.5;\nfloat x = x1 + (x2 - x1) *position;  \nfloat y = y1 + (y2 - y1) *position;  \n\nDistribute objects equally around a circle \t\n\nMore fun with maths, this time adding cosine to our friend sine. Let\u2019s say you want to create a circular navigation of arbitrary elements (yeah, Jakob, you heard), or you want to place images around a circle. Well, this piece of code will do just that. You can adjust the size of the circle by changing the distance variable and alter the number of objects with the numberOfObjects variable. Example below is for use in Processing.\n\n// Example for Processing available for free download at processing.org\n\nvoid setup() {\n\n  size(800,800);\n  int numberOfObjects = 12;\n  int distance = 100;\n  float inc = (TWO_PI)/numberOfObjects;\n  float x,y;\n  float a = 0;\n\n  for (int i=0; i < numberOfObjects; i++) {\n    x = (width/2) + sin(a)*distance;\n    y = (height/2) + cos(a)*distance;\n    ellipse(x,y,10,10);\n    a += inc;\n\n  }\n}\n\nUse modulus to make a grid\n\nThe modulus operator, represented by %, returns the remainder of a division. Fallen into a coma yet? Hold on a minute \u2013 this seemingly simple function is very powerful in lots of ways. At a simple level, you can use it to determine if a number is odd or even, great for creating alternate row colours in a table for instance:\n\nboolean checkForEven(numberToCheck) {\n  if (numberToCheck % 2 == 0) \n    return true;\n  } else {\n    return false; \n  }\n}\n\nThat\u2019s all well and good, but here\u2019s a use of modulus that might very well blow your mind. Construct a grid with only a few lines of code. Again the example is in Processing but can easily be ported to any other language.\n\nvoid setup() {\n\nsize(600,600);\nint numItems = 120;\nint numOfColumns = 12;\nint xSpacing = 40;\nint ySpacing = 40;\nint totalWidth = xSpacing*numOfColumns;\n\nfor (int i=0; i < numItems; i++) {\n\nellipse(floor((i*xSpacing)%totalWidth),floor((i*xSpacing)/totalWidth)*ySpacing,10,10);\n\n}\n}\n\nNot all the bits of code I keep around are for actual graphical output. I also have things that are very utilitarian, but which I still consider part of the design process. Here\u2019s a couple of things that I\u2019ve found really handy lately in my design workflow. They may be a little specific, but I hope they demonstrate that it\u2019s not about working harder, it\u2019s about working smarter. \n\nMerge CSV files into one file\n\nRecently, I\u2019ve had to work with huge \u2013 about 1GB \u2013 CSV text files that I then needed to combine into one master CSV file so I could then process the data. Opening up each text file and then copying and pasting just seemed really dumb, not to mention slow, so I thought there must be a better way. After some Googling I found this command line script that would combine .txt files into one file and add a new line after each:  \n\nawk 1 *.txt > finalfile.txt\n\nBut that wasn\u2019t what I was ideally after. I wanted to merge the CSV files, keeping the first row of the first file (the column headings) and then ignore the first row of subsequent files. Sure enough I found the answer after some Googling and it worked like a charm. Apologies to the original author but I can\u2019t remember where I found it, but you, sir or madam, are awesome. Save this as a shell script:\n\nFIRST=\n\nfor FILE in *.csv\n  do\n    exec 5<\"$FILE\" # Open file\n    read LINE <&5 # Read first line\n      [ -z \"$FIRST\" ] && echo \"$LINE\" # Print it only from first file\n      FIRST=\"no\"\n\n      cat <&5 # Print the rest directly to standard output\n      exec 5<&- # Close file\n      # Redirect stdout for this section into file.out \n\ndone > file.out\n\nCreate a symbolic link to another file or folder\n\nOftentimes, I\u2019ll find myself hunting through a load of directories to load a file to be processed, like a CSV file. Use a symbolic link (in the Terminal) to place a link on your desktop or wherever is most convenient and it\u2019ll save you loads of time. Especially great if you\u2019re going through a Java file dialogue box in Processing or something that doesn\u2019t allow the normal Mac dialog box or aliases.\n\ncd /DirectoryYouWantShortcutToLiveIn\nln -s /Directory/You/Want/ShortcutTo/ TheShortcut\n\nYou can do it, in the mix\n\nI hope you\u2019ve found some of the above useful and that they\u2019ve inspired a few ideas here and there. Feel free to tell me better ways of doing things or offer up any other handy pieces of code. Most of all though, collect, remix and combine the things you discover to make lovely new things.", "year": "2012", "author": "Brendan Dawes", "author_slug": "brendandawes", "published": "2012-12-17T00:00:00+00:00", "url": "https://24ways.org/2012/cut-copy-paste/", "topic": "code"}
{"rowid": 93, "title": "Design Systems", "contents": "The most important part of responsive web design is that, no matter what the viewport width, the content is accessible in an optimum display. The best responsive designs are those that allow you to go from one optimised display to another, but with the feeling that these experiences are part of a greater product whole.\n\nResponsive design: where we\u2019ve been going wrong\n\nResponsive web design was a shock to my web designer system. Those of us who had already been designing sites for mobile probably had the biggest leap to make. We might have been detecting user agents in order to deliver a mobile-specific site, or using the slightly more familiar Bushido technique to deliver sites optimised for device type and viewport size, but either way our focus was on devices. A site was optimised for either a mobile phone or a desktop.\n\nResponsive web design brought us back to pre-table layout fluid sites that expanded or contracted to fit the viewport. This was a big difference to get our heads around when we were so used to designing for fixed-width layouts. Suddenly, an element could be any width or, at least, we needed to consider its maximum and minimum widths. Pixel perfection, while pretty, became wholly unrealistic, and a whole load of designers who prided themselves in detailed and precise designs got a bit scared.\n\nHanging on to our previous processes and typical deliverables led us to continue to optimise our sites for particular devices and provide pixel-perfect mockups for those device widths.\n\nWith all this we were concentrating on devices, not content, deliverables and not process, and making assumptions about users and their devices based on nothing but the width of the viewport.\n\nI don\u2019t think this is a crime, I think it was inevitable.\n\nWe can be up to date with our principles and ideals, but it\u2019s never as easy in practice. That\u2019s why it\u2019s more important than ever to share our successful techniques and processes. Let\u2019s drag each other into modern web design.\n\nDesign systems: the principles\n\nWhat are design systems?\n\nA visual design system is built out of the core components of typography, layout, shape or form, and colour. When considering the design of a whole product, a design system should also include patterns in user flow, content strategy, copy, and tone of voice. These concepts, design decisions or rules, created around the core components are used consistently across your product to create a cohesive feel, whether it\u2019s from one element to another, page to page, or viewport width to viewport width.\n\nResponsive design is one of the most important considerations in the components of a design system. For each component, you must decide what will unite the design across the viewports to maintain that consistent feel, and what parts of the design will differentiate in order to provide a flexible and optimal experience for different viewport sizes.\n\nComponents you might keep the same across viewports\n\n\n\ttypeface\n\tbase unit\n\tcolour\n\tshape/form\n\n\nComponents you might differentiate across viewports\n\n\n\tgrids\n\tlayout\n\tfont size\n\tmeasure (line length)\n\tleading (line height)\n\n\nContent: it must always be the same\n\nThe focus of a design system is the optimum display of content. As Mark Boulton put it, designing \u201ccontent out, not canvas in.\u201d Chris Armstrong puts the emphasis on not designing for viewports but for content \u2013 \u201cwe need to build on what we do know: content.\u201d In order to do this, we must share the same content across all devices and focus on how best to display and represent content through design system components.\n\nThe practical: core visual components\n\nTypography first\n\nWhen you work with a lot of text content, typography is the easiest way to set the visual tone of the design across all viewport widths. It\u2019s likely that you\u2019ll choose one or two typefaces to use across the whole system, but you might change the most legible font size, balanced with the most comfortable measure, as the viewport width changes.\n\nWhere typography meets layout\n\nThe unit on which you choose to base the grid and layout design, font sizes and leading could be based on the typeface, an optimal reading size, or something more arbitrary. Sometimes I\u2019ll choose a unit based on multiples of ten because it makes the maths in the CSS easier. Tim Brown suggests trying a modular scale. Chris Armstrong suggests basing it on your ideal measure, or the width of a fixed item of content such as an ad unit.\n\nGrids and layouts\n\nSensible grid design can be a flexible yet solid foundation for your design system layout component. But you must be wary in responsive design that a grid might not work across all widths: even four columns could make for very cramped content and one-word measures on smaller screens.\n\nMaybe the grid columns are something you differentiate across widths, but you can keep the concept of the grid consistent. If the content has blocks in groups of three, you might decide on a three-column grid which folds down to one column for narrow viewports. If the grid focuses on the idea of symmetry and has a four-column grid on larger viewports, it might fold down to two columns for narrower viewports. These consistencies may seem subtle, not at all obvious to many except the designer, but it\u2019s all these little constants and patterns across the whole of the design system that makes design decisions easier to make (as they adhere to the guiding concepts of your system), and give the product a uniform feel no matter what the device.\n\nShape or form\n\nThe shape or form components are concepts you already use in fixed-width web design for a strong, consistent look and feel. \n\nSince CSS border-radius became widely supported by browsers, a lot of designs feature circle themes. These are very distinctive and can be used across viewport widths giving them the same united feel, even if they\u2019re not used in the same way. This could also apply to border styles, consistent shadows and any number of decorative details and textures. These are the elements that make up the shape or form of a design system.\n\nColour\n\nColour is the most basic way to reinforce a brand and unite experiences across viewports. The same hex colour used system-wide is instantly recognisable, no matter what the viewport width.\n\nThe process\n\nWhile using a design system isn\u2019t necessarily attached to any particular process, it does lend itself to some process ideals.\n\nDetaching design considerations from viewport widths\n\nA design system allows you to focus separately on the components that make up the system, disconnecting the look and feel from the layout. This helps prevent us getting stuck in the rut of the Apple breakpoints (brilliantly coined by Simon Foster) of mobile, tablet and desktop. It also forces us to design for variation in viewport experiences side by side, not one after the other.\n\nDesign in the browser\n\nI can\u2019t start off designing in the browser \u2013 it just doesn\u2019t seem to bring out my creative side (and I\u2019m incredibly envious of you if you can; I just have to start on paper) \u2013 but static mock-ups aren\u2019t the only alternative. Style guides and style tiles are perfect for expressing the concepts of your design system. Pattern libraries could also work well.\n\nMock-ups and breakpoints\n\nAt some point, whether it\u2019s to test your system ideas, or because a client needs help visualising how your system might work, you may end up producing some static mock-ups. It\u2019s not the end of the world, but you must ensure that these consider all the viewports, not just those of the iDevices, or even the devices currently on the market. You need to decide the breakpoints where the states of your design change. The blocks within your content will always have optimum points for their display (based on their hierarchy, density, width, or type of interaction) and so your breakpoints should be based around these points.\n\nThese are probably the ideal points at which to produce static mockups; treat them as snapshots. They\u2019re not necessarily mock-ups, so much as a way of capturing how your design system would be interpreted when frozen at that particular viewport width.\n\nThe future\n\nCreating design systems will give us the flexibility we need for working with the unknown devices of the future. It may be a change in process, but it shouldn\u2019t be too much of a difference in thinking. The pioneers in responsive design have a hard job. Some of these problems may have already been solved in other technologies or industries, but it\u2019s up to the pioneers to find those connections and help us formulate solutions and standards that will make responsive design the best it can possibly be. We need to keep experimenting and communicating, particularly in the area of design, as good user experiences are the true sign of whether our products are a success.", "year": "2012", "author": "Laura Kalbag", "author_slug": "laurakalbag", "published": "2012-12-12T00:00:00+00:00", "url": "https://24ways.org/2012/design-systems/", "topic": "design"}
{"rowid": 89, "title": "Direction, Distance and Destinations", "contents": "With all these new smartphones in the hands of lost and confused owners, we need a better way to represent distances and directions to destinations. The immediate examples that jump to mind are augmented reality apps which let you see another world through your phone\u2019s camera. While this is interesting, there is a simpler way: letting people know how far away they are and if they are getting warmer or colder. \n\nIn the app world, you can easily tap into the phone\u2019s array of sensors such as the GPS and compass, but what people rarely know is that you can do the same with HTML. The native versus web app debate will never subside, but at least we can show you how to replicate some of the functionality progressively in HTML and JavaScript.\n\nIn this tutorial, we\u2019ll walk through how to create a simple webpage listing distances and directions of a few popular locations around the world. We\u2019ll use JavaScript to access the device\u2019s geolocation API and also attempt to access the compass to get a heading. Both of these APIs are documented, to be included in the W3C geolocation API specification, and can be used on both desktop and mobile devices today.\n\nTo get started, we need a list of a few locations around the world. I have chosen the highest mountain peak on each continent so you can see a diverse set of distances and directions. \n\n\n\t\t\n\t\t\tMountain \n\t\t\t\u00b0Latitude \n\t\t\t\u00b0Longitude \n\t\t\n\t\t\n\t\t\tKilimanjaro\n\t\t\t-3.075833\n\t\t\t37.353333\n\t\t\n\t\t\n\t\t\tVinson Massif\n\t\t\t-78.525483\n\t\t\t-85.617147\n\t\t\n\t\t\n\t\t\tPuncak Jaya\n\t\t\t-4.078889\n\t\t\t137.158333\n\t\t\n\t\t\n\t\t\tEverest\n\t\t\t27.988056\n\t\t\t86.925278\n\t\t\n\t\t\n\t\t\tElbrus\n\t\t\t43.355\n\t\t\t42.439167\n\t\t\n\t\t\n\t\t\tMount McKinley\n\t\t\t63.0695\n\t\t\t-151.0074\n\t\t\n\t\t\n\t\t\tAconcagua\n\t\t\t-32.653431\n\t\t\t-70.011083\n\t\t\n\n\nSource: Wikipedia \n\nWe can put those into an HTML list to be styled and accessed by JavaScript to create some distance and directions calculations.\n\nThe next thing we need to do is check to see if the browser and operating system have geolocation support. To do this we test to see if the function is available or not using a single JavaScript if statement.\n\n<script>\n// If this is true, then the method is supported and we can try to access the location\nif (navigator.geolocation) {\n\tnavigator.geolocation.getCurrentPosition(geo_success, geo_error);\n}\n</script>\n\nThe if statement will be false if geolocation support is not present, and then it is up to you to do something else instead as a fallback. For this example, we\u2019ll do nothing since our page should work as is and only get progressively better if more functionality is available. \n\nThe if statement will be true if there is support and therefore will continue inside the curly brackets to try to get the location. This should prompt the reader to accept or deny the request to get their location. If they say no, the second function callback is processed, in this case a function called geo_error; whereas if the location is available, it fires the geo_success function callback.\n\nThe function geo_error(){ } isn\u2019t that exciting. You can handle this in any way you see fit. The success function is more interesting. We get a position object passed into the function which contains a series of exciting attributes, namely the latitude and longitude of the device\u2019s current location.\n\nfunction geo_success(position){\n\tgLat = position.coords.latitude;\n\tgLon = position.coords.longitude;\n}\n\nNow, in the variables gLat and gLon we have the user\u2019s approximate geographical position. We can use this information to start to calculate some distances between where they are and all the destinations.\n\nAt the time of writing, you can also get position.coords.heading, but on Windows and iOS devices this returned NULL. In the future, if and when this is supported, this is also where you can easily grab the compass information.\n\nInside the geo_success function, we want to loop through the HTML to get all of the mountain peaks\u2019 latitudes and longitudes and compute the distance.\n\n...\n$('.geo').each(function(){\n\t// Get the lat/lon from the HTML\n\ttLat = $(this).find('.lat').html()\n\ttLon = $(this).find('.lon').html()\n\n\t// compute the distances between the current location and this points location\n\tdist = distance(tLat,tLon,gLat,gLon);\n\n\t// set the return values into something useful\n\td = parseInt(dist[0]*10)/10;\n\ta = parseFloat(dist[1]);\n\n\t// display the value in the HTML and style the arrow\n\t$(this).find('.distance').html(d+' km away');\n\t$(this).find('.direction').css('-webkit-transform','rotate(-' + a + 'deg)');\n\n\t// store the arc for later use if compass is available\n\t$(this).attr('data-arc',a);\n}\n\nIn the variable d we have the distance between the current location and the location of the mountain peak based on the Haversine Formula. The variable a is the arc, which has a value from 0 to 359.99. This will be useful later if we have compass support. Given these two values we have a distance and a heading to style the HTML.\n\nThe next thing we want to do is check to see if the device has a compass and then get access to the the current heading. As we\u2019ll see, there are several ways to do this, some of which work on certain devices but not others. The W3C geolocation spec says that, along with the coordinates, there are several other attributes: accuracy; altitude; and heading. Heading is the direction to true north, which is different than magnetic north! WebKit and Windows return NULL for the heading value, but WebKit has an experimental method to fetch the heading. If you get into accessing these sensors, you\u2019ll have to try to catch a few of these methods to finally get a value. Assuming you do, we can move on to the more interesting display opportunities.\n\nIn an ideal world, this would succeed and set a variable we\u2019ll call compassHeading to get a value between 0 and 359.99 degrees. Now we know which direction north is, we also know the direction relative to north of the path to our destination, so we can can subtract the two values to get an arrow to display on the screen. But we\u2019re not finished yet: we also need to get the device\u2019s orientation (landscape or portrait) and subtract the correct amount from the angle for the arrow. Once we have a value, we can use CSS to rotate the arrow the correct number of degrees.\n\n-webkit-transform: rotate(-180deg)\n\nNot all devices support a standard way to access compass information, so in the meantime we need to use a work around. On iOS, you can use the experimental event method e.webkitCompassHeading. We want the compass to update in real time as the device is moved around, so we\u2019ll put this inside an event listener.\n\nwindow.addEventListener('deviceorientation', function(e) {\n\t// Loop through all the locations on the page\n\t$('.geo').each(function(){\n\t\t// get the arc value from north we computed and stored earlier\n\t\tdestination_arc = parseInt($(this).attr('data-arc'))\n\t\tcompassHeading = e.webkitCompassHeading + window.orientation + destination_arc;\n\t\t// find the arrow element and rotate it accordingly\n\t\t$(this).find('.direction').css('-webkit-transform','rotate(-' + compassHeading + 'deg)');\t\t\n\t}\n}\n\nAs the device is rotated, the compass arrow will constantly be updated. If you want to see an example, you can have a look at this page which shows the distances to all the peaks on each continent.\n\nWith progressive enhancement, we slowly layer on additional functionality as we go. The reader will first see the list of locations with a latitude and longitude. If the device is capable and permissions allow, it will then compute the distance. If a compass is available, with the correct permissions it will then add the final layer which is direction.\n\nYou should consider this code a stub for your projects. If you are making a hyperlocal webpage with restaurant locations, for example, then consider adding these features. Knowing not only how far away a place is, but also the direction can be hugely important, and since the compass is always active, it acts as a guide to the location. \n\nFuture developments\n\nImprovements to this could include setting a timer and recalling the navigator.geolocation.getCurrentPosition() function and updating the distances. I chose very distant mountains so kilometres made sense, but you can divide again by 1,000 to convert to metres if you are dealing with much nearer places. Walking or driving would change the distances so the ability to refresh would be important. \n\nIt is outside the scope of this article, but if you manage to get this HTML to work offline, then you can make a nice web app which sits on your devices\u2019 homescreens and works even without an internet connection. This could be ideal for travellers in an unknown city looking for your destination. Just with offline storage, base64 encoding and data URIs, it is possible to embed plenty of design and functionality into a small offline webpage.\n\nNow you know how to use JavaScript to look up a destination\u2019s location and figure out the distance and direction \u2013 never get lost again.", "year": "2012", "author": "Brian Suda", "author_slug": "briansuda", "published": "2012-12-19T00:00:00+00:00", "url": "https://24ways.org/2012/direction-distance-and-destinations/", "topic": "code"}
{"rowid": 86, "title": "Flashless Animation", "contents": "Animation in a Flashless world\n\nWhen I splashed down in web design four years ago, the first thing I wanted to do was animate a cartoon in the browser. I\u2019d been drawing comics for years, and I\u2019ve wanted to see them come to life for nearly as long. Flash animation was still riding high, but I didn\u2019t want to learn Flash. I wanted to learn JavaScript!\n\nSadly, animating with JavaScript was limiting and resource-intensive. My initial foray into an infinitely looping background did more to burn a hole in my CPU than amaze my friends (although it still looks pretty cool). And there was still no simple way to incorporate audio. The browser technology just wasn\u2019t there.\n\nThings are different now. CSS3 transitions and animations can do most of the heavy lifting and HTML5 audio can serve up the music and audio clips. You can do a lot without leaning on JavaScript at all, and when you lean on JavaScript, you can do so much more!\n\nIn this project, I\u2019m going to show you how to animate a simple walk cycle with looping audio. I hope this will inspire you to do something really cool and impress your friends. I\u2019d love to see what you come up with, so please send your creations my way at rachelnabors.com!\n\nNote: Because every browser wants to use its own prefixes with CSS3 animations, and I have neither the time nor the space to write all of them out, I will use the W3C standard syntaxes; that is, going prefix-less. You can implement them out of the box with something like Prefixfree, or you can add prefixes on your own. If you take the latter route, I recommend using Sass and Compass so you can focus on your animations, not copying and pasting.\n\nThe walk cycle\n\nWalk cycles are the \u201cHello world\u201d of animation. One of the first projects of animation students is to spend hours drawing dozens of frames to complete a simple loopable animation of a character walking.\n\nMost animators don\u2019t have to draw every frame themselves, though. They draw a few key frames and send those on to production animators to work on the between frames (or tween frames). This is meticulous, grueling work requiring an eye for detail and natural movement. This is also why so much production animation gets shipped overseas where labor is cheaper.\n\nLuckily, we don\u2019t have to worry about our frame count because we can set our own frames-per-second rate on the fly in CSS3. Since we\u2019re trying to impress friends, not animation directors, the inconsistency shouldn\u2019t be a problem. (Unless your friend is an animation director.)\n\nThis is a simple walk cycle I made of my comic character Tuna for my CSS animation talk at CSS Dev Conference this year:\n\n\n\nThe magic lies here:\n\nanimation: walk-cycle 1s steps(12) infinite;\n\nBreaking those properties down:\n\nanimation: <name> <duration> <timing-function> <iteration-count>;\n\nwalk-cycle is a simple @keyframes block that moves the background sprite on .tuna around:\n\n@keyframes walk-cycle {  \n    0% {background-position: 0 0; }\n    100% {background-position: 0 -2391px;}\n}\n\nThe background sprite has exactly twelve images of Tuna that complete a full walk cycle. We\u2019re setting it to cycle through the entire sprite every second, infinitely. So why isn\u2019t the background image scrolling down the .tuna container? It\u2019s all down to the timing function steps(). Using steps() let us tell the CSS to make jumps instead of the smooth transitions you\u2019d get from something like linear. Chris Mills at dev.opera wrote in his excellent intro to CSS3 animation :\n\n\n\tInstead of giving a smooth animation throughout, [steps()] causes the animation to jump between a set number of steps placed equally along the duration. For example, steps(10) would make the animation jump along in ten equal steps. There\u2019s also an optional second parameter that takes a value of start or end. steps(10, start) would specify that the change in property value should happen at the start of each step, while steps(10, end) means the change would come at the end.\n\n\n(Seriously, go read his full article. I\u2019m not going to touch on half the stuff he does because I cannot improve on the basics any more than he already has.)\n\nThe background\n\nA cat walking in a void is hardly an impressive animation and certainly your buddy one cube over could do it if he chopped up some of those cat GIFs he keeps using in group chat. So let\u2019s add a parallax background! Yes, yes, all web designers signed a peace treaty to not abuse parallax anymore, but this is its true calling\u2014treaty be damned.\n\n\n\nAnd to think we used to need JavaScript to do this! It\u2019s still pretty CPU intensive but much less complicated. We start by splitting up the page into different layers, .foreground, .midground, and .background. We put .tuna in the .midground.\n\n.background has multiple background images, all set to repeat horizontally:\n\nbackground-image:\n    url(background_mountain5.png),\n    url(background_mountain4.png),\n    url(background_mountain3.png),\n    url(background_mountain2.png),\n    url(background_mountain1.png);\nbackground-repeat: repeat-x;\n\nWith parallax, things in the foreground move faster than those in the background. Next time you\u2019re driving, notice how the things closer to you move out of your field of vision faster than something in the distance, like a mountain or a large building. We can imitate that here by making the background images on top (in the foreground, closer to us) wider than those on the bottom of the stack (in the distance).\n\nThe different lengths let us use one animation to move all the background images at different rates in the same interval of time:   \n\nanimation: parallax_bg linear 40s infinite;\n\nThe shorter images have less distance to cover in the same amount of time as the longer images, so they move slower.\n\n\n\nLet\u2019s have a look at the background\u2019s animation:\n\n@keyframes parallax_bg {  \n  0% {\n    background-position: -2400px 100%, -2000px 100%, -1800px 100%, -1600px 100%, -1200px 100%;\n  }\n  100% {\n    background-position: 0 100%, 0 100%, 0 100%, 0 100%, 0 100%;\n  }\n}\n\nAt 0%, all the background images are positioned at the negative value of their own widths. Then they start moving toward background-position: 0 100%. If we wanted to move them in the reverse direction, we\u2019d remove the negative values at 0% (so they would start at 2400px 100%, 2000px 100%, etc.). Try changing the values in the codepen above or changing background-repeat to none to see how the images play together.\n\n.foreground and .midground operate on the same principles, only they use single background images.\n\nThe music\n\nAfter finishing the first draft of my original walk cycle, I made a GIF with it and posted it on YTMND with some music from the movie Paprika, specifically the track \u201cThe Girl in Byakkoya.\u201d After showing it to some colleagues in my community, it became clear that this was a winning combination sure to drive away dresscode blues. So let\u2019s use HTML5 to get a clip of that music looping in there!\n\nWarning, there is sound. Please adjust your volume or apply headphones as needed.\n\n\n\nWe\u2019re using HTML5 audio\u2019s loop and autoplay abilities to automatically play and loop a sound file on page load:\n\n<audio loop autoplay>\n  <source src=\"http://music.com/clip.mp3\" />\n</audio>\n\nUnfortunately, you may notice there is a small pause between loops. HTML5 audio, thou art half-baked still. Let\u2019s hope one day the Web Audio API will be able to help us out, but until things improve, we\u2019ll have to hack our way around these shortcomings.\n\nTurns out there\u2019s a handy little script called seamlessLoop.js which we can use to patch this. Mind you, if we were really getting crazy with the Cheese Whiz, we\u2019d want to get out big guns like sound.js. But that\u2019d be overkill for a mere loop (and explaining the Web Audio API might bore, rather than impress your friends)!\n\nInstalling seamlessLoop.js will get rid of the pause, and now our walk cycle is complete.\n\n(I\u2019ve done some very rough sniffing to see if the browser can play MP3 files. If not, we fall back to using .ogg formatted clips (Opera and Firefox users, you\u2019re welcome).)\n\nReally impress your friends by adding a run cycle\n\nSo we have music, we have a walk cycle, we have parallax. It will be a snap to bring them all together and have a simple, endless animation. But let\u2019s go one step further and knock the socks off our viewers by adding a run cycle.\n\nThe run cycle\n\nTacking a run cycle on to our walk cycle will require a third animation sequence: a transitional animation of Tuna switching from walking to running. I have added all these to the sprite:\n\n\n\nLet\u2019s work on getting that transition down. We\u2019re going to use multiple animations on the same .tuna div, but we\u2019re going to kick them off at different intervals using animation-delay\u2014no JavaScript required! Isn\u2019t that magical?\n\n\n\nIt requires a wee bit of math (not much, it doesn\u2019t hurt) to line them up. We want to:\n\n\n\tLoop the walk animation twice\n\tPlay the transitional cycle once (it has a finite beginning and end perfectly drawn to pick up between the last frame of the walk cycle and the first frame of the run cycle\u2014no looping this baby)\n\tRUN FOREVER.\n\n\nUsing the pattern animation: <name> <duration> <timing-function> <delay> <iteration-count>, here\u2019s what that looks like:\n\nanimation:\n    walk-cycle 1s steps(12) 2,\n    walk-to-run .75s steps(12) 2s 1,\n    run-cycle .75s steps(13) 2.75s infinite;\n\nI played with the times to get make the movement more realistic. You may notice that the running animation looks smoother than the walking animation. That\u2019s because it has 13 keyframes running over .75 second instead of 12 running in one second. Remember, professional animation studios use super-high frame counts. This little animation isn\u2019t even up to PBS\u2019s standards!\n\nThe music: extended play with HTML5 audio sprites\n\nMy favorite part in the The Girl in Byakkoya is when the calm opening builds and transitions into a bouncy motif. I want to start with Tuna walking during the opening, and then loop the running and bounciness together for infinity.\n\n\n\tThe intro lasts for 24 seconds, so we set our 1 second walk cycle to run for 24 repetitions: \nwalk-cycle 1s steps(12) 24\n\tWe delay walk-to-run by 24 seconds so it runs for .75 seconds before\u2026\n\tWe play run-cycle at 24.75 seconds and loop it infinitely\n\n\nFor the music, we need to think of it as two parts: the intro and the bouncy loop. We can do this quite nicely with audio sprites: using one HTML5 audio element and using JavaScript to change the play head location, like skipping tracks with a CD player. Although this technique will result in a small gap in music shifts, I think it\u2019s worth using here to give you some ideas.\n\n// Get the audio element\nvar byakkoya = document.querySelector('audio');\n// create function to play and loop audio\nfunction song(a){\n    //start playing at 0\n    a.currentTime = 0;\n    a.play();\n    //when we hit 64 seconds...\n    setTimeout(function(){\n        // skip back to 24.5 seconds and keep playing...\n        a.currentTime = 24.55;\n        // then loop back when we hit 64 again, or every 59.5 seconds.\n        setInterval(function(){\n            a.currentTime = 24.55;\n        },39450);\n    },64000);\n}\n\nThe load screen\n\nI\u2019ve put it off as long as I can, but now that the music and the CSS are both running on their own separate clocks, it\u2019s imperative that both images and music be fully downloaded and ready to run when we kick this thing off. So we need a load screen (also, it\u2019s nice to give people a heads-up that you\u2019re about to blast them with music, no matter how wonderful that music may be).\n\nSince the two timers are so closely linked, we\u2019d best not run the animations until we run the music:\n\n* { animation-play-state: paused; }\n\nanimation-play-state can be set to paused or running, and it\u2019s the most useful thing you will learn today.\n\nFirst we use an event listener to see when the browser thinks we can play through from the beginning to end of the music without pause for buffering:\n\nbyakkoya.addEventListener(\"canplaythrough\", function () { });\n\n(More on HTML5 audio\u2019s media events at HTML5doctor.com)\n\nInside our event listener, I use a bit of jQuery to add class of .playable to the body when we\u2019re ready to enable the play button:\n\n$(\"body\").addClass(\"playable\");\n    $(\"#play-me\").html(\"Play me.\").click(function(){\n      song(byakkoya);\n      $(\"body\").addClass(\"playing\");\n    });\n\nThat .playing class is special because it turns on the animations at the same time we start playing the song:\n\n.playing * { animation-play-state: running; }\n\nThe background\n\nWe\u2019re almost done here! When we add the background, it needs to speed up at the same time that Tuna starts running. The music picks up speed around 24.75 seconds in, and so we\u2019re going to use animation-delay on those backgrounds, too.\n\nThis will require some math. If you try to simply shorten the animation\u2019s duration at the 24.75s mark, the backgrounds will, mid-scroll, jump back to their initial background positions to start the new animation! Argh! So let\u2019s make a new @keyframe and calculate where the background position would be just before we speed up the animation.\n\nHere\u2019s the formula:\n\nnew 0% value = delay \u00f7 old duration \u00d7 length of image\n\nnew 100% value = new 0% value + length of image\n\nHere\u2019s the formula put to work on a smaller scale:\n\n\n\nVoil\u00e0! The finished animation!\n\n\n\nI\u2019ve always wanted to bring my illustrations to life. Then I woke up one morning and realized that I had all the tools to do so in my browser and in my head. Now I have fallen in love with Flashless animation.\n\nI\u2019m sure there will be detractors who say HTML wasn\u2019t meant for this and it\u2019s a gross abuse of the DOM! But I say that these explorations help us expand what we expect from devices and software and challenge us in good ways as artists and programmers. The browser might not be the most appropriate place for animation, but is certainly a fun place to start.\n\nThere is so much you can do with the spec implemented today, and so much of the territory is still unexplored. I have not yet begun to show you everything. In eight months I expect this demo will represent the norm, not the bleeding edge. I look forward to seeing the wonderful things you create.\n\n(Also, someone, please, do something about that gappy HTML5 audio looping. It\u2019s a crying shame!)", "year": "2012", "author": "Rachel Nabors", "author_slug": "rachelnabors", "published": "2012-12-06T00:00:00+00:00", "url": "https://24ways.org/2012/flashless-animation/", "topic": "code"}
{"rowid": 78, "title": "Fluent Design through Early Prototyping", "contents": "There\u2019s a small problem with wireframes. They\u2019re not good for showing the kind of interactions we now take for granted \u2013 transitions and animations on the web, in Android, iOS, and other platforms. There\u2019s a belief that early prototyping requires a large amount of time and effort, and isn\u2019t worth an early investment. But it\u2019s not true!\n\nIt\u2019s still normal to spend a significant proportion of time working in wireframes. Given that wireframes are high-level and don\u2019t show much detail, it\u2019s tempting to give up control and responsibility for things like transitions and other things sidelined as visual considerations. These things aren\u2019t expressed well, and perhaps not expressed at all, in wireframes, yet they critically influence the quality of a product. Rapid prototyping early helps to bring sidelined but significant design considerations into focus.\n\nSpeaking fluent design\n\nFluency in a language means being able to speak it confidently and accurately. The Latin root means flow.\n\nBy design fluency, I mean using a set of skills in order to express or communicate an idea. Prototyping is a kind of fluency. It takes designers beyond the domain of grey and white boxes to consider all the elements that make up really good product design.\n\nDesigners shouldn\u2019t be afraid of speaking fluent design. They should think thoroughly about product decisions beyond their immediate role \u2014 not for the sake of becoming some kind of power-hungry design demigod, but because it will lead to better, more carefully considered product design.\n\nWireframes are incomplete sentences\n\nWireframes, once they\u2019ve served their purpose, are a kind of self-imposed restriction.\n\nMostly made out of grey and white boxes, they deliberately express the minimum. Important details \u2014 visuals, nuanced transitions, sounds \u2014 are missing. Their appearance bears little resemblance to the final thing. Responsibility for things that traditionally didn\u2019t matter (or exist) is relinquished. Animations and transitions in particular are increasingly relevant to the mobile designer\u2019s methods. And rather than being fanciful and superfluous visual additions to a product, they help to clarify designs and provide information about context.\n\nWireframes are useful in the early stages. As a designer trying to persuade stakeholders, clients, or peers, sometimes it will be in your interests to only tell half the story. They\u2019re ideal for gauging whether a design is taking the right direction, and they\u2019re the right medium for deciding core things, such as the overall structure and information architecture.\n\nBut spending a long time in wireframes means delaying details to a later stage in the project, or to the end, when the priority is shifted to getting designs out of the door. This leaves little time to test, finesse and perfect things which initially seemed to be less important. I think designers should move away from using wireframes as primary documentation once the design has reached a certain level of maturity.\n\nA prototype is multiple complete sentences\n\nParagraphs, even.\n\nUnlike a wireframe, a prototype is a persuasive storyteller. It can reveal the depth and range of design decisions, not just the layout, but also motion: animations and transitions. If it\u2019s a super-high-fidelity prototype, it\u2019s a perfect vessel for showing the visual design as well. It\u2019s all of these things that contribute to the impression that a product is good\u2026 and useful, and engaging, and something you\u2019d like to use.\n\nA prototype is impressive. A good prototype can help to convince stakeholders and persuade clients. With a compelling demo, people can more easily imagine that this thing could actually exist. \u201cHey\u201d, they\u2019re thinking. \u201cThis might actually be pretty good!\u201d\n\nHow to make a prototype in no time and with no effort\n\nNow, it does take time and effort to make a prototype. However, good news! It used to require a lot more effort. There are tools that make prototyping much quicker and easier.\n\nIf you\u2019re making a mobile prototype (this seems quite likely), you will want to test and show this on the actual device. This sounds like it could be a pain, but there are a few ways to do this that are quite easy.\n\nKeynote, Apple\u2019s presentation software, is an unlikely candidate for a prototyping tool, but surprisingly great and easy for creating prototypes with transitions that can be shown on different devices.\n\nKeynote enables you to do a few useful, excellent things. You can make each screen in your design a slide, which can be linked together to allow you to click through the prototype. You can add customisable transitions between screens. If you want to show a panel that can slide open or closed on your iPad mockup, for example, transitions can also be added to individual elements on the screen. The design can be shown on tablet and mobile devices, and interacted with like it\u2019s a real app. Another cool feature is that you can export the prototype as a video, which works as another effective format for demoing a design.\n\nOverall, Keynote offers a very quick, lightweight way to prototype a design. Once you\u2019ve learned the basics, it shouldn\u2019t take longer than a few hours \u2013 at most \u2013 to put together a respectable clickable prototype with transitions.\n\nDownload the interactive MOV example\n\nHolly icon by Megan Sheehan from The Noun Project\n\nThis is a Quicktime movie exported from Keynote. This version is animated for demonstration purposes, but download the interactive original and you can click the screen to move through the prototype. It demonstrates the basic interactivity of an iPhone app. This anonymised example was used on a project at Fjord to create a master example of an app\u2019s transitions.\n\nPrototyping drawbacks, and perceived drawbacks\n\nIf prototyping is so great, then why do we leave it to the end, or not bother with it at all? There are multiple misconceptions about prototyping: they\u2019re too difficult to make; they take too much time; or they\u2019re inaccurate (and dangerous) documentation.\n\nA prototype is a preliminary model. There should always be a disclaimer that it\u2019s not the real thing to avoid setting up false expectations.\n\nA prototype doesn\u2019t have to be the main deliverable. It can be a key one that\u2019s supported by visual and interaction specifications. And a prototype is a lightweight means of managing and reflecting changes and requirements in a project.\n\nAn actual drawback of prototyping is that to make one too early could mean being gung-ho with what you thought a client or stakeholder wanted, and delivering something inappropriate. To avoid this, communicate, iterate, and keep things simple until you\u2019re confident that the client or other stakeholders are happy with your chosen direction.\n\nThe key throughout any design project is iteration. Designers build iterative models, starting simple and becoming increasingly sophisticated. It\u2019s a process of iterative craft and evolution. There\u2019s no perfect methodology, no magic recipe to follow.\n\nWhat to do next\n\nMake a prototype! It\u2019s the perfect way to impress your friends.\n\nIt can help to advance a brilliant idea with a fraction of the effort of complete development. Sketches and wireframes are perfect early on in a project, but once they\u2019ve served their purpose, prototypes enable the design to advance, and push thinking towards clarifying other important details including transitions.\n\nFor Keynote tutorials, Keynotopia is a great resource. Axure is standard and popular prototyping software many UX designers will already be familiar with; it\u2019s possible to create transitions in Axure. POP is an iPhone app that allows you to design apps on paper, take photos with your phone, and turn them into interactive prototypes. Ratchet is an elegant iPhone prototyping tool aimed at web developers.\n\nThere are perhaps hundreds of different prototyping tools and methods. My final advice is not to get bogged down in (or limited by) any particular tool, but to remember you\u2019re making quick and iterative models. Experiment and play!\n\nPrototyping will push you and your designs to a scary place without limitations. No more grey and white boxes, just possibilities!", "year": "2012", "author": "Rebecca Cottrell", "author_slug": "rebeccacottrell", "published": "2012-12-10T00:00:00+00:00", "url": "https://24ways.org/2012/fluent-design-through-early-prototyping/", "topic": "ux"}
{"rowid": 76, "title": "Giving CSS Animations and Transitions Their Place", "contents": "CSS animations and transitions may not sit squarely in the realm of the behaviour layer, but they\u2019re stepping up into this area that used to be pure JavaScript territory. Heck, CSS might even perform better than its JavaScript equivalents in some cases. That\u2019s pretty serious! With CSS\u2019s new tricks blurring the lines between presentation and behaviour, it can start to feel bloated and messy in our CSS files. It\u2019s an uncomfortable feeling.\n\nHere are a pair of methods I\u2019ve found to be pretty helpful in keeping the potential bloat and wire-crossing under control when CSS has its hands in both presentation and behaviour.\n\nSame eggs, more baskets\n\nStructuring your CSS to have separate files for layout, typography, grids, and so on is a fairly common approach these days. But which one do you put your transitions and animations in? The initial answer, as always, is \u201cit depends\u201d.\n\nSmall effects here and there will likely sit just fine with your other styles. When you move into more involved effects that require multiple animations and some logic support from JavaScript, it\u2019s probably time to choose none of the above, and create a separate CSS file just for them.\n\nPutting all your animations in one file is a huge help for code organization. Even if you opt for a name less literal than animations.css, you\u2019ll know exactly where to go for anything CSS animation related. That saves time and effort when it comes to editing and maintenance. Keeping track of which animations are still currently used is easier when they\u2019re all grouped together as well. And as an added bonus, you won\u2019t have to look at all those horribly unattractive and repetitive prefixed @-keyframe rules unless you actually need to.\n\nAn animations.css file might look something like the snippet below. It defines each animation\u2019s keyframes and defines a class for each variation of that animation you\u2019ll be using. Depending on the situation, you may also want to include transitions here in a similar way. (I\u2019ve found defining transitions as their own class, or mixin, to be a huge help in past projects for me.)\n\n// defining the animation\n@keyframes catFall {\n from { background-position: center 0;}\n to {background-position: center 1000px;}\n}\n@-webkit-keyframes catFall {\n from { background-position: center 0;}\n to {background-position: center 1000px;}\n}\n@-moz-keyframes catFall {\n from { background-position: center 0;}\n to {background-position: center 1000px;}\n}\n@-ms-keyframes catFall {\n from { background-position: center 0;}\n to {background-position: center 1000px;}\n}\n\n\u2026\n\n// class that assigns the animation\n\n.catsBackground {\n height: 100%;\n background: transparent url(../endlessKittens.png) 0 0 repeat-y;\n animation: catFall 1s linear infinite;\n -webkit-animation: catFall 1s linear infinite;\n -moz-animation: catFall 1s linear infinite;\n -ms-animation: catFall 1s linear infinite;\n}\n\nIf we don\u2019t need it, why load it?\n\nHaving all those CSS animations and transitions in one file gives us the added flexibility to load them only when we want to. Loading a whole lot of things that will never be used might seem like a bit of a waste.\n\nWhile CSS has us impressed with its motion chops, it falls flat when it comes to the logic and fine-grained control. JavaScript, on the other hand, is pretty good at both those things. Chances are the content of your animations.css file isn\u2019t acting alone. You\u2019ll likely be adding and removing classes via JavaScript to manage your CSS animations at the very least. If your CSS animations are so entwined with JavaScript, why not let them hang out with the rest of the behaviour layer and only come out to play when JavaScript is supported?\n\nDynamically linking your animations.css file like this means it will be completely ignored if JavaScript is off or not supported. No JavaScript? No additional behaviour, not even the parts handled by CSS.\n\n<script>\ndocument.write('<link rel=\"stylesheet\" type=\"text/css\" href=\"animations.css\">');\n</script>\n\nThis technique comes up in progressive enhancement techniques as well, but it can help here to keep your presentation and behaviour nicely separated when more than one language is involved. The aim in both cases is to avoid loading files we won\u2019t be using.\n\nIf you happen to be doing something a bit fancier \u2013 like 3-D transforms or critical animations that require more nuanced fallbacks \u2013 you might need something like modernizr to step in to determine support more specifically. But the general idea is the same.\n\nSumming it all up\n\nUsing a couple of simple techniques like these, we get to pick where to best draw the line between behaviour and presentation based on the situation at hand, not just on what language we\u2019re using. The power of when to separate and how to reassemble the individual pieces can be even greater if you use preprocessors as part of your process. We\u2019ve got a lot of options! The important part is to make forward-thinking choices to save your future self, and even your current self, unnecessary headaches.", "year": "2012", "author": "Val Head", "author_slug": "valhead", "published": "2012-12-08T00:00:00+00:00", "url": "https://24ways.org/2012/giving-css-animations-and-transitions-their-place/", "topic": "code"}
{"rowid": 73, "title": "How to Make Your Site Look Half-Decent in Half an Hour", "contents": "Programmers like me are often intimidated by design \u2013 but a little effort can give a huge return on investment. Here are one coder\u2019s tips for making any site quickly look more professional. \n\nI am a programmer. I am not a designer. I have a degree in computer science, and I don\u2019t mind Comic Sans. (It looks cheerful. Move on.)\n\nBut although I am a programmer, I want to make my sites look attractive. This is partly out of vanity, and partly realism. Vanity because I want people to think my work is good, and realism because the research shows that people won\u2019t think a site is credible unless it also looks attractive.\n\nFor a very long time after I became a programmer, I was scared of design. Design seemed to consist of complicated rules that weren\u2019t written down anywhere, plus an unlearnable sense of taste, possessed only by a black-clad elite. \n\nBut a little while ago, I decided to do my best to hack what it took to make my own projects look vaguely attractive. And although this doesn\u2019t come close to the effect a professional designer could achieve, gathering these resources for improving a site\u2019s look and feel has been really helpful. \n\nIf I hadn\u2019t figured out some basic design shortcuts, it\u2019s unlikely that a weekend hack of mine would have ended up on page three of the Daily Mail. And too often now, I see excellent programming projects that don\u2019t reach the audience they deserve, simply because their design doesn\u2019t match their execution. \n\nSo, if you are a developer, my Christmas present to you is this: my own collection of hacks that, used rightly, can make your personal programming projects look professional, quickly. None are hard to learn, most are free, and they let you focus on writing code.\n\nOne thing to note about these tips, though. They are a personal, pragmatic compilation. They are suggestions, not a definitive guide. You will definitely get better results by working with a professional designer, and by studying design more deeply. \n\nIf you are a designer, I would love to hear your suggestions for the best tools that I\u2019ve missed, and I\u2019d love to know how we programmers can do things better.\n\nWith that, on to the tools\u2026\n\n1. Use Bootstrap\n\nIf you\u2019re not already using Bootstrap, start now. I really think that Bootstrap is one of the most significant technical achievements of the last few years: it democratizes the whole process of web design. \n\nEssentially, Bootstrap is a a grid system, with a bunch of common elements. So you can lay your site out how you want, drop in simple elements like forms and tables, and get a good-looking, consistent result, without spending hours fiddling with CSS. You just need HTML. \n\nAnother massive upside is that it makes it easy to make any site responsive, so you don\u2019t have to worry about writing media queries. Go, get Bootstrap and check out the examples. To keep your site lightweight, you can customize your download to include only the elements you want.  \n\nIf you have more time, then Mark Otto\u2019s article on why and how Bootstrap was created at Twitter is well worth a read. \n\n2. Pimp Bootstrap\n\nUsing Bootstrap is already a significant advance on not using Bootstrap, and massively reduces the tedium of front-end development. But you also run the risk of creating Yet Another Bootstrap Site, or Hack Day Design, as it\u2019s known. \n\nIf you\u2019re really pressed for time, you could buy a theme from Wrap Bootstrap. These are usually created by professional designers, and will give a polish that we can\u2019t achieve ourselves. Your site won\u2019t be unique, but it will look good quickly. \n\nLuckily, it\u2019s pretty easy to make Bootstrap not look too much like Bootstrap \u2013 using fonts, CSS effects, background images, colour schemes and so on. Most of the rest of this article covers different ways to achieve this. \n\nWe are going to customize this Bootstrap example page.\n\nThis already has some custom CSS in the <head>. We\u2019ll pull it all out, and create a new CSS file, custom.css. Then we add a reference to it in the header. Now we\u2019re ready to start customizing things.\n\n\n\n3. Fonts\n\nWeb fonts are one of the quickest ways to make your site look distinctive, modern, and less Bootstrappy, so we\u2019ll start there. \n\nFirst, we can add some sweet fonts, from Google Web Fonts. The intimidating bit is choosing fonts that look nice together. Luckily, there are plenty of suggestions around the web: we\u2019re going to use one of DesignShack\u2019s suggested free Google Fonts pairings. Our fonts are Corben (for headings) and Nobile (for body copy). \n\nThen we add these files to our <head>. \n\n<link href=\"http://fonts.googleapis.com/css?family=Corben:bold\" rel=\"stylesheet\" type=\"text/css\">\n <link href=\"http://fonts.googleapis.com/css?family=Nobile\" rel=\"stylesheet\" type=\"text/css\">\n\n\u2026and this to custom.css: \n\nh1, h2, h3, h4, h5, h6 {\n    font-family: 'Corben', Georgia, Times, serif;\n}\np, div {\n    font-family: 'Nobile', Helvetica, Arial, sans-serif;\n}\n\nNow our example looks like this. It\u2019s not going to win any design awards, but it\u2019s immediately better:\n\n\n\nI also recommend the web font services Fontdeck, or Typekit \u2013 these have a wider selection of fonts, and are worth the investment if you regularly need to make sites look good. For more font combinations, Just My Type suggests appealing pairings from Typekit. Finally, you can experiment with type pairing ideas at Type Connection. For the design background on pairing fonts, Typekit\u2019s post is worth a read. \n\n4. Textures\n\nAn instant way to make a site look classy is to use textures. You know the grey, stripy, indefinably elegant background on 24ways.org? That.\n\nIf only there was a superb resource listing attractive, free, ready-to-use textures\u2026 Oh wait, there\u2019s Atle Mo\u2019s Subtle Patterns. \n\nWe\u2019re going to use Cream Dust, for an effect that can only be described as subtle. We download the file to a new /img/ directory, then add this to the CSS file:\n\nbody { \n    background: url(/img/cream_dust.png) repeat 0 0;\n}\n\nBang:\n\n\n\nFor some design background on patterns, I recommend reading through Smashing Magazine\u2019s guidelines on textures. (TL;DR version: use textures to enhance beauty, and clarify the information architecture of your site; but don\u2019t overdo it, or inadvertently obscure your text.)\n\nStill more to do, though. Onwards. \n\n5. Icons\n\nLast year\u2019s 24 ways taught us to use icon fonts for our site icons. \n\nThis is great for the time-pressed coder, because icon fonts don\u2019t just cut down on HTTP requests \u2013 they\u2019re a lot quicker to set up than image-based icons, too. \n\nBootstrap ships with an extensive, free for commercial use icon set in the shape of Font Awesome. Its icons are safe for screen readers, and can even be made to work in IE7 if needed (we\u2019re not going to bother here). \n\nTo start using these icons, just download Font Awesome, and add the /fonts/ directory to your site and the font-awesome.css file into your /css/ directory. Then add a reference to the CSS file in your header:\n\n<link rel=\"stylesheet\" href=\"/css/font-awesome.css\">\n\nFinally, we\u2019ll add a truck icon to the main action button, as follows. Why a truck? Why not?\n\n<a class=\"btn btn-large btn-success\" href=\"#\"><i class=\"icon-truck\"></i> Sign up today</a>\n\nWe\u2019ll also tweak our CSS file to stop the icon nudging up against the button text:\n\n.jumbotron .btn i { \n    margin-right: 8px;  \n}\n\nAnd this is how it looks:\n\n\n\nNot the most exciting change ever, but it livens up the page a bit. The licence is CC-BY-3.0, so we also include a mention of Font Awesome and its URL in the source code. \n\nIf you\u2019d like something a little more distinctive, Shifticons lets you pay a few cents for individual icons, with the bonus that you only have to serve the icons you actually use, which is more efficient. Its icons are also friendly to screen readers, but won\u2019t work in IE7. \n\n6. CSS3\n\nThe next thing you could do is add some CSS3 goodness. It can really help the key elements of the site stand out. \n\nIf you are pressed for time, just adding box-shadow and text-shadow to emphasize headings and standouts can be useful: \n\nh1 { \n    text-shadow: 1px 1px 1px #ccc;\n}\n.div-that-you want-to-stand-out { \n    box-shadow: 0 0 1em 1em #ccc;\n}\n\nWe have a little more time though, so we\u2019re going to do something more subtle. We\u2019ll add a radial gradient behind the main heading, using an online gradient editor. \n\nThe output is hefty, but you can see it in the CSS. Note that we also need to add the following to our HTML, for IE9 support: \n\n<!--[if gte IE 9]>\n  <style type=\"text/css\">\n    .gradient {\n       filter: none;\n    }\n  </style>\n<![endif]-->\n\nAnd the effect \u2013 I don\u2019t know what a designer would think, but I like the way it makes the heading pop.\n\n\n\nFor a crash course in useful modern CSS effects, I highly recommend CodeSchool\u2019s online course in Functional HTM5 and CSS3. It costs money ($25 a month to subscribe), but it\u2019s worth it for the time you\u2019ll save. As a bonus, you also get access to some excellent JavaScript, Ruby and GitHub courses. \n\n(Incidentally, if you find yourself fighting with basic float and display attributes in CSS \u2013 and there\u2019s no shame in it, CSS layout is not intuitive \u2013 I recommend the CSS Cross-Country course at CodeSchool.)\n\n7. Add a twist\n\nWe could leave it there, but we\u2019re going to add a background image, and give the site some personality. \n\nThis is the area of design that I think many programmers find most intimidating. How do we create the graphics and photographs that a designer would use? The answer is iStockPhoto and its competitors \u2013 online image libraries where you can find and pay for images. They won\u2019t be unique, but for our purposes, that\u2019s fine. \n\nWe\u2019re going to use a Christmassy image. For a twist, we\u2019re going to use Backstretch to make it responsive. \n\nWe must pay for the image, then download it to our /img/ directory. Then, we set it as our <body>\u2019s background-image, by including a JavaScript file with just the following line: \n\n$.backstretch(\"/img/winter.jpg\");\n\nWe also reset the subtle pattern to become the background for our container image. It would look much better transparent, so we can use this technique in GIMP to make it see-through:\n\n.container-narrow {\n    background: url(/img/cream_dust_transparent.png) repeat 0 0;\n}\n\nWe also fiddle with the padding on body and .container-narrow a bit, and this is the result: \n\n\n\n(Aside: If this were a real site, I\u2019d want to buy images in multiple sizes and ensure that Backstretch chose the most appropriately sized image for our screen, perhaps using responsive images.)\n\nHow to find the effects that make a site interesting? I keep a set of bookmarks for interesting JavaScript and CSS effects I might want to use someday, from realistic shadows to animating grids. The JavaScript Weekly newsletter is a great source of ideas. \n\n8. Colour schemes\n\nWe\u2019re just about getting there \u2013 though we\u2019re probably past half an hour now \u2013 but that button and that menu still both look awfully Bootstrappy. \n\nReal sites, with real designers, have a colour palette, carefully chosen to harmonize and match the brand profile. For our purposes, we\u2019re just going to borrow some colours from the image. We use Gimp\u2019s colour picker tool to identify the hex values of the blue of the snow. Then we can use Color Scheme Designer to find contrasting, but complementary, colours. \n\nFinally, we use those colours for our central button. There are lots of tools to help us do this, such as Bootstrap Buttons. The new HTML is quite long, so I won\u2019t paste it all here, but you can find it in the CSS file. \n\nWe also reset the colour of the pills in the navigation menu, which is a bit easier: \n\n.nav-pills > .active > a, .nav-pills > .active > a:hover {\n    background-color: #FF9473;\n}\n\nI\u2019m not sure if the result is great to be honest, but at least we\u2019ve lost those Bootstrap-blue buttons:\n\n\n\nAnother way to do it, if you didn\u2019t have an image to match, would be to borrow an attractive colour scheme. Colourlovers is a community where people create and share ready-made colour palettes. \n\nThe key thing is to find a palette with an open licence, so you can legitimately use it. Unfortunately, you can\u2019t search for palettes by licence type, but many do have open licences. Here\u2019s a popular palette with a CC-BY-SA licence that allows reuse with attribution.  \n\nAs above, you can use the hex values from the palette in your custom CSS, and bask in the newly colourful results.\n\n9. Read on\n\nWith the above techniques, you can make a site that is starting to look slightly more professional, pretty quickly. \n\nIf you have the time to invest, it\u2019s well worth learning some design principles, if only so that design seems less intimidating and more like fun. As part of my design learning, I read a few introductory design books aimed at coders. The best I found was David Kadavy\u2019s Design for Hackers: Reverse-Engineering Beauty, which explains the basic principles behind choosing colours, fonts, typefaces and layout.\n\nIn the introduction to his book, David writes: \n\n\n\tNo group stands to gain more from design literacy than hackers do\u2026 The one subject that is exceedingly frustrating for hackers to try to learn is design. Hackers know that in order to compete against corporate behemoths with just a few lines of code, they need to have good, clear design, but the resources with which to learn design are simply hard to find.\n\n\nWell said. If you have half a day to invest, rather than half an hour, I recommend getting hold of David\u2019s book.\n\nAnd the journey is over. Perhaps that took slightly more than half an hour, but with practice, using the above techniques can become second nature. What useful tools have I missed? Designers, how would you improve on the above? I would love to know, so please give me your views in the comments.", "year": "2012", "author": "Anna Powell-Smith", "author_slug": "annapowellsmith", "published": "2012-12-16T00:00:00+00:00", "url": "https://24ways.org/2012/how-to-make-your-site-look-half-decent/", "topic": "design"}
{"rowid": 80, "title": "HTML5 Video Bumpers", "contents": "Video is a bigger part of the web experience than ever before. With native browser support for HTML5 video elements freeing us from the tyranny of plugins, and the availability of faster internet connections to the workplace, home and mobile networks, it\u2019s now pretty straightforward to publish video in a way that can be consumed in all sorts of ways on all sorts of different web devices.\n\nI recently worked on a project where the client had shot some dedicated video shorts to publish on their site. They also had some five-second motion graphics produced to top and tail the videos with context and branding. This pretty common requirement is a great idea on the web, where a user might land at your video having followed a link and be viewing a page without much context.\n\nKnown as bumpers, these short introduction clips help brand a video and make it look a lot more professional.\n\n\n\nAdding bumpers to a video\n\nThe simplest way to add bumpers to a video would be to edit them on to the start and end of the video file itself. Cooking the bumpers into the video file is easy, but should you ever want to update them it can become a real headache. If the branding needs updating, for example, you\u2019d need to re-edit and re-encode all your videos. Not a fun task.\n\nWhat if the bumpers could be added dynamically? That would enable you to use the same bumper for multiple videos (decreasing download time for users who might watch more than one) and to update the bumpers whenever you wanted. You could change them seasonally, update them for special promotions, run different advertising slots, perform multivariate testing, or even target different bumpers to different users.\n\nThe trade-off, of course, is that if you dynamically add your bumpers, there\u2019s a chance that a user in a given circumstance might not see the bumper. For example, if the main video feature was uploaded to YouTube, you\u2019d have no way to control the playback. As always, you need to weigh up the pros and cons and make your choice.\n\nHTML5 bumpers\n\nIf you wanted to dynamically add bumpers to your HTML5 video, how would you go about it? That was the question I found myself needing to answer for this particular client project.\n\nMy initial thought was to treat it just like an image slideshow. If I were building a slideshow that moved between images, I\u2019d use CSS absolute positioning with z-index to stack the images up on top of each other in a pile, with the first image on top. To transition to the second image, I\u2019d use JavaScript to fade the top image out, revealing the second image beneath it.\n\n\n\nNow that video is just a native object in the DOM, just like an image, why not do the same? Stack the videos up with the opening bumper on top, listen for the video\u2019s onended event, and fade it out to reveal the main feature behind. Good idea, right?\n\nWrong\n\nRemember that this is the web. It\u2019s never going to be that easy. The problem here is that many non-desktop devices use native, dedicated video players. Think about watching a video on a mobile phone \u2013 when you play the video, the phone often goes full-screen in its native player, leaving the web page behind. There\u2019s no opportunity to fade or switch z-index, as the video isn\u2019t being viewed in the page. Your page is left powerless. Powerless!\n\n\n\nSo what can we do? What can we control?\n\nThose of us with particularly long memories might recall a time before CSS, when we\u2019d have to use JavaScript to perform image rollovers. As CSS background images weren\u2019t a practical reality, we would use lots of <img> elements, and perform a rollover by modifying the src attribute of the image. \n\nTurns out, this old trick of modifying the source can help us out with video, too. In most cases, modifying the src attribute of a <video> element, or perhaps more likely the src attribute of a source element, will swap from one video to another.\n\nSwappin\u2019 it\n\nLet\u2019s take a deliberately simple example of a super-basic video tag:\n\n<video src=\"mycat.webm\" controls>no fallback coz i is lame, innit.</video>\n\nWe could very simply write a script to find all video tags and give them a new src to show our bumper.\n\n<script>\n\tvar videos, i, l;\n\tvideos = document.getElementsByTagName('video');\n\tfor(i=0, l=videos.length; i<l; i++) {\n\t\tvideos[i].setAttribute('src', 'bumper-in.webm');\n\t}\n</script>\n\nView the example in a browser with WebM support. You\u2019ll see that the video is swapped out for the opening bumper. Great!\n\nBeefing it up\n\nOf course, we can\u2019t just publish video in one format. In practical use, you need a <video> element with multiple <source> elements containing your different source formats.\n\n<video controls>\n    <source src=\"mycat.mp4\" type=\"video/mp4\" />\n    <source src=\"mycat.webm\" type=\"video/webm\" />\n    <source src=\"mycat.ogv\" type=\"video/ogg\" />\n</video>\n\nThis time, our script needs to loop through the sources, not the videos. We\u2019ll use a regular expression replacement to swap out the file name while maintaining the correct file extension.\n\n<script>\n    var sources, i, l, orig;\n    sources = document.getElementsByTagName('source');\n    for(i=0, l=sources.length; i<l; i++) {\n        orig = sources[i].getAttribute('src');\n        sources[i].setAttribute('src', orig.replace(/(w+).(w+)/, 'bumper-in.$2'));\n        // reload the video\n        sources[i].parentNode.load();\n    }\n</script>\n\nThe difference this time is that when changing the src of a <source> we need to call the .load() method on the video to get it to acknowledge the change.\n\nSee the code in action, this time in a wider range of browsers.\n\nBut, my video!\n\nI guess we should get the original video playing again. Keeping the same markup, we need to modify the script to do two things:\n\n\n\tStore the original src in a data- attribute so we can access it later\n\tAdd an event listener so we can detect the end of the bumper playing, and load the original video back in\n\n\nAs we need to loop through the videos this time to add the event listener, I\u2019ve moved the .load() call into that loop. It\u2019s a bit more efficient to call it only once after modifying all the video\u2019s sources.\n\n<script>\nvar videos, sources, i, l, orig;\nsources = document.getElementsByTagName('source');\nfor(i=0, l=sources.length; i<l; i++) {\n    orig = sources[i].getAttribute('src');\n    sources[i].setAttribute('data-orig', orig);\n    sources[i].setAttribute('src', orig.replace(/(w+).(w+)/, 'bumper-in.$2'));\n}\nvideos = document.getElementsByTagName('video');\nfor(i=0, l=videos.length; i<l; i++) {\n    videos[i].load();\n    videos[i].addEventListener('ended', function(){\n        sources = this.getElementsByTagName('source');\n        for(i=0, l=sources.length; i<l; i++) {\n            orig = sources[i].getAttribute('data-orig');\n            if (orig) {\n                sources[i].setAttribute('src', orig);\n            }\n            sources[i].setAttribute('data-orig','');\n        }\n        this.load();\n        this.play();\n    });\n}\n</script>\n\nAgain, view the example to see the bumper play, followed by our spectacular main feature. (That\u2019s my cat, Widget. His interests include sleeping and internet marketing.)\n\nTidying things up\n\nThe final thing to do is add our closing bumper after the main video has played. This involves the following changes:\n\n\n\tWe need to keep track of whether the src has been changed, so we only play the video if it\u2019s changed. I\u2019ve added the modified variable to track this, and it stops us getting into a situation where the video just loops forever.\n\tAdd an else to the event listener, for when the orig is false (so the main feature has been playing) to load in the end bumper. We also check that we\u2019re not already playing the end bumper. Because looping.\n\n\n<script>\nvar videos, sources, i, l, orig, current, modified;\nsources = document.getElementsByTagName('source');\nfor(i=0, l=sources.length; i<l; i++) {\n   orig = sources[i].getAttribute('src');\n   sources[i].setAttribute('data-orig', orig);\n   sources[i].setAttribute('src', orig.replace(/(w+).(w+)/, 'bumper-in.$2'));\n}\nvideos = document.getElementsByTagName('video');\nfor(i=0, l=videos.length; i<l; i++) {\n   videos[i].load();\n   modified = false;\n   videos[i].addEventListener('ended', function(){\n      sources = this.getElementsByTagName('source');\n      for(i=0, l=sources.length; i<l; i++) {\n         orig = sources[i].getAttribute('data-orig');\n         if (orig) {\n            sources[i].setAttribute('src', orig);\n            modified = true;\n         }else{\n            current = sources[i].getAttribute('src');\n            if (current.indexOf('bumper-out')==-1) {\n               sources[i].setAttribute('src', current.replace(/([w]+).(w+)/, 'bumper-out.$2'));\n               modified = true;\n            }else{\n               this.pause();\n               modified = false;\n            }\n         }\n         sources[i].setAttribute('data-orig','');\n      }\n      if (modified) {\n         this.load();\n         this.play();\n      }\n   });\n}\n</script>\n\nYo ho ho, that\u2019s a lot of JavaScript. See it in action \u2013 you should get a bumper, the cat video, and an end bumper.\n\nOf course, this code works fine for demonstrating the principle, but it\u2019s very procedural. Nothing wrong with that, but to do something similar in production, you\u2019d probably want to make the code more modular to ease maintainability. Besides, you may want to use a framework, rather than basic JavaScript. \n\nThe end credits\n\nOne really important principle here is that of progressive enhancement. If the browser doesn\u2019t support JavaScript, the user won\u2019t see your bumper, but they will get the main video. If the browser supports JavaScript but doesn\u2019t allow you to modify the src (as was the case with older versions of iOS), the user won\u2019t see your bumper, but they will get the main video.\n\nIf a search engine or social media bot grabs your page and looks for content, they won\u2019t see your bumper, but they will get the main video \u2013 which is absolutely what you want.\n\nThis means that if the bumper is absolutely crucial, you may still need to cook it into the video. However, for many applications, running it dynamically can work quite well.\n\nAs always, it comes down to three things:\n\n\n\tMeasure your audience: know how people access your site\n\tTest the solution: make sure it works for your audience\n\tPlan for failure: it\u2019s the web and that\u2019s how things work \u2018round these parts\n\n\nBut most of all play around with it, have fun and build something awesome.", "year": "2012", "author": "Drew McLellan", "author_slug": "drewmclellan", "published": "2012-12-01T00:00:00+00:00", "url": "https://24ways.org/2012/html5-video-bumpers/", "topic": "code"}
{"rowid": 91, "title": "Infinite Canvas: Moving Beyond the Page", "contents": "Remember Web 2.0? I do. In fact, that phrase neatly bifurcates my life on the internet. Pre-2.0, I was occupied by chatting on AOL and eventually by learning HTML so I could build sites on Geocities. Around 2002, however, I saw a WYSIWYG demo in Dreamweaver. The instructor was dragging boxes and images around a canvas. With a few clicks he was able to build a dynamic, single-page interface. Coming from the world of tables and inline HTML styles, I was stunned.\n\nAs I entered college the next year, the web was blossoming: broadband, Wi-Fi, mobile (proud PDA owner, right here), CSS, Ajax, Bloglines, Gmail and, soon, Google Maps. I was a technology fanatic and a hobbyist web developer. For me, the web had long been informational. It was now rapidly becoming something else, something more: sophisticated, presentational, actionable.\n\nIn 2003 we watched as the internet changed. The predominant theme of those early Web 2.0 years was the withering of Internet Explorer 6 and the triumph of web standards. Upon cresting that mountain, we looked around and collectively breathed the rarefied air of pristine HMTL and CSS, uncontaminated by toxic hacks and forks \u2013 only to immediately begin hurtling down the other side at what is, frankly, terrifying speed.\n\nTen years later, we are still riding that rocket. Our days (and nights) are spent cramming for exams on CSS3 and RWD and Sass and RESS. We are the proud, frazzled owners of tiny pocket computers that annihilate the best laptops we could have imagined, and the architects of websites that are no longer restricted to big screens nor even segregated by device. We dragoon our sites into working any time, anywhere. At this point, we can hardly ask the spec developers to slow down to allow us to catch our breath, nor should we. It is, without a doubt, a most wonderful time to be a web developer.\n\nBut despite the newfound luxury of rounded corners, gradients, embeddable fonts, low-level graphics APIs, and, glory be, shadows, the canyon between HTML and native appears to be as wide as ever. The improvements in HTML and CSS have, for the most part, been conveniences rather than fundamental shifts. What I\u2019d like to do now, if you\u2019ll allow me, is outline just a few of the remaining gaps that continue to separate web sites and applications from their native companions.\n\nWhat I\u2019d like for Christmas\n\nThere is one irritant which is the grandfather of them all, the one from which all others flow and have their being, and it is, simply, the page refresh. That\u2019s right, the foundational principle of the web is our single greatest foe. To paraphrase a patron saint of designers everywhere, if you see a page refresh, we blew it.\n\nThe page refresh brings with it, of course, many noble and lovely benefits: addressability, for one; and pagination, for another. (See also caching, resource loading, and probably half a dozen others.) Still, those concerns can be answered (and arguably answered more compellingly) by replacing the weary page with the young and hearty document. Flash may be dead, but it has many lessons yet to bequeath.\n\nPreparing a single document when the site loads allows us to engage the visitor in a smooth and engrossing experience. We have long known this, of course. Twitter was not the first to attempt, via JavaScript, to envelop the user in a single-page application, nor the first to abandon it. Our shared task is to move those technologies down the stack, to make them more primitive, so that the next Twitter can be built with the most basic combination of HTML and CSS rather than relying on complicated, slow, and unreliable scripted solutions.\n\nSo, let\u2019s take a look at what we can do, right now, that we might have a better idea of where our current tools fall short.\n\nA print magazine in HTML clothing\n\nLike many others, I suspect, one of my earliest experiences with publishing was laying out newsletters and newspapers on a computer for print. If you\u2019ve ever used InDesign or Quark or even Microsoft Publisher, you\u2019ll remember reflowing content from page to page. The advent of the internet signaled, in many ways, the abandonment of that model. Articles were no longer constrained by the physical limitations of paper. In shedding our chains, however, it is arguable that we\u2019ve lost something useful. We had a self-contained and complete package, a closed loop. It was a thing that could be handled and finished, and doing so provided a sense of accomplishment that our modern, infinitely scrolling, ever-fractal web of content has stolen.\n\nFor our purposes today, we will treat 24 ways as the online equivalent of that newspaper or magazine. A single year\u2019s worth of articles could easily be considered an issue. Right now, navigating between articles means clicking on the article you\u2019d like to view and being taken to that specific address via a page reload. If Drew wanted to, it wouldn\u2019t be difficult to update the page in place (via JavaScript) and change the address (again via JavaScript with the History API) to reflect the new content found at the new location. But what if Drew wanted to do that without  JavaScript? And what if he wanted the site to not merely load the content but actually whisk you along the page in a compelling and delightful way, \u00e0 la the Mag+ demo we all saw a few years ago when the iPad was first introduced? Uh, no.\n\nWe\u2019re all familiar with websites that have attempted to go beyond the page by weaving many chunks of content together into a large document and for good reason. There is tremendous appeal in opening and exploring the canvas beyond the edges of our screens.\n\nIn one rather straightforward example from last year, Mozilla contacted Full Stop to build a website promoting Aza Raskin\u2019s proposal for a set of Creative Commons-style privacy icons. Like a lot of the sites we build (including our own), the amount of information we were presenting was minimal. In these instances, we encourage our clients to consider including everything on a single page. The result was a horizontally driven site that was, if not whimsical, at least clever and attractive to the intended audience. An experience that is taken for granted when using device-native technology is utterly, maddeningly impossible to replicate on the web without jumping through JavaScript hoops.\n\nIn another, more complex example, we again had the pleasure of working with Aza earlier this year, this time on a redesign of the Massive Health website. Our assignment was to design and build a site that communicated Massive\u2019s commitment to modern personal health. The site had to be visually and interactively stunning while maintaining a usable and clear interface for the casual visitor. Our solution was to extend the infinite company logo into a ribbon that carried the visitor through the site narrative. It also meant we\u2019d be asking the browser to accommodate something it was never designed to handle: a non-linear design. (Be sure to play around. There\u2019s a lot going on under the hood. We were also this close to a ZUI, if WebKit didn\u2019t freak out when pages were scaled beyond 10\u00d7.) Despite the apparent and deliberate design simplicity, the techniques necessary to implement it are anything but. From updating the URL to moving the visitor from section to section, we\u2019re firmly in JavaScript territory. And that\u2019s a shame.\n\nWhat can we do?\n\nWe might not be able to specify these layouts in HTML and CSS just yet, but that doesn\u2019t mean we can\u2019t learn a few new tricks while we wait. Let\u2019s see how close we can come to recreating the privacy icons design, the Massive design, or the Mag+ design without resorting to JavaScript.\n\nA horizontally paginated site\n\nThe first thing we\u2019re going to need is the concept of a page within our HTML document. Using plain old HTML and CSS, we can stack a series of <div>s sideways (with a little assist from our new friend, the viewport-width unit, not that he was strictly necessary). All we need to know is how many pages we have. (And, boy, wouldn\u2019t it be nice to be able to know that without having to predetermine it or use JavaScript?)\n\n.window {\noverflow: hidden;\n  width: 100%;\n}\n.pages {\n  width: 200vw;\n}\n.page {\n  float: left;\n  overflow: hidden;\n  width: 100vw;\n}\n\nIf you look carefully, you\u2019ll see that the conceit we\u2019ll use in the rest of the demos is in place. Despite the document containing multiple pages, only one is visible at any given time. This allows us to keep the user focused on the task (or content) at hand.\n\nBy the way, you\u2019ll need to use a modern, WebKit-based browser for these demos. I recommend downloading the WebKit nightly builds, Chrome Canary, or being comfortable with setting flags in Chrome.\n\nA horizontally paginated site, with transitions\n\nAh, here\u2019s the rub. We have functional navigation, but precious few cues for the user. It\u2019s not much good shoving the visitor around various parts of the document if they don\u2019t get the pleasant whooshing experience of the journey. You might be thinking, what about that new CSS selector, target-something\u2026? Well, my friend, you\u2019re on the right track. Let\u2019s test it. We\u2019re going to need to use a bit of sleight of hand. While we\u2019d like to simply offset the containing element by the number of pages we\u2019re moving (like we did on Massive), CSS alone can\u2019t give us that information, and that means we\u2019re going to need to fake it by expanding and collapsing pages as you navigate. Here are the bits we\u2019re going to need:\n\n.page {\n  -webkit-transition: width 1s; // Naturally you're going to want to include all the relevant prefixes here\n  float: left;\n  left: 0;\n  overflow: hidden;\n  position: relative;\n  width: 100vw;\n}\n.page:not(:target) {\n  width: 0;\n}\n\nAh, but we\u2019re not fooling anyone with that trick. As soon as you move beyond a single page, the visitor\u2019s disbelief comes tumbling down when the linear page transitions are unaffected by the distance the pages are allegedly traveling. And you may have already noticed an even more fatal flaw: I secretly linked you to the first page rather than the unadorned URL. If you visit the same page with no URL fragment, you get a blank screen. Sure, we could force a redirect with some server-side trickery, but that feels like cheating. Perhaps if we had the CSS4 subject selector we could apply styles to the parent based on the child being targeted by the URL. We might also need a few more abilities, like determining the total number of pages and having relative sibling selectors (e.g. nth-sibling), but we\u2019d sure be a lot closer.\n\nA horizontally paginated site, with transitions \u2013 no cheating\n\nWell, what other cards can we play? How about the checkbox hack? Sure, it\u2019s a garish trick, but it might be the best we can do today. Check it out. \n\nlabel {\n  cursor: pointer;\n}\ninput {\n display: none;\n}\ninput:not(:checked) + .page {\n  max-height: 100vh;\n  width: 0;\n}\n\nFinally, we can see the first page thanks to the state we are able to set on the appropriate radio button. Of course, now we don\u2019t have URLs, so maybe this isn\u2019t a winning plan after all. While our HTML and CSS toolkit may feel primitive at the moment, we certainly don\u2019t want to sacrifice the addressability of the web. If there\u2019s one bedrock principle, that\u2019s it.\n\nA horizontally paginated site, with transitions \u2013 no cheating and a gorgeous homepage\n\nGorgeous may not be the right word, but our little magazine is finally shaping up. Thanks to the CSS regions spec, we\u2019ve got an exciting new power, the ability to begin an article in one place and bend it to our will. (Remember, your everyday browser isn\u2019t going to work for these demos. Try the WebKit nightly build to see what we\u2019re talking about.) As with the rest of the examples, we\u2019re clearly abusing these features. Off-canvas layouts (you can thank Luke Wroblewski for the name) are simply not considered to be normal patterns\u2026 yet.\n\nHere\u2019s a quick look at what\u2019s going on:\n\n.excerpt-container {\n  float: left;\n  padding: 2em;\n  position: relative;\n  width: 100%;\n}\n.excerpt {\n  height: 16em;\n}\n.excerpt_name_article-1,\n.page-1 .article-flow-region {\n  -webkit-flow-from: article-1;\n}\n.article-content_for_article-1 {\n  -webkit-flow-into: article-1;\n}\n\nThe regions pattern is comprised of at least three components: a beginning; an ending; and a source. Using CSS, we\u2019re able to define specific elements that should be available for the content to flow through. If magazine-style layouts are something you\u2019re interested in learning more about (and you should be), be sure to check out the great work Adobe has been doing.\n\nLooking forward, and backward\n\nAs designers, builders, and consumers of the web, we share a desire to see the usability and enjoyability of websites continue to rise. We are incredibly lucky to be working in a time when a three-month-old website can be laughably outdated. Our goal ought to be to improve upon both the weaknesses and the strengths of the web platform. We seek not only smoother transitions and larger canvases, but fine-grained addressability. Our URLs should point directly and unambiguously to specific content elements, be they pages, sections, paragraphs or words. Moreover, off-screen design patterns are essential to accommodating and empowering the multitude of devices we use to access the web. We should express the desire that interpage links take advantage of the CSS transitions which have been put to such good effect in every other aspect of our designs. Transitions aren\u2019t just nice to have, they\u2019re table stakes in the highly competitive world of native applications. \n\nThe tools and technologies we have right now allow us to create smart, beautiful, useful webpages. With a little help, we can begin removing the seams and sutures that bind the web to an earlier, less sophisticated generation.", "year": "2012", "author": "Nathan Peretic", "author_slug": "nathanperetic", "published": "2012-12-21T00:00:00+00:00", "url": "https://24ways.org/2012/infinite-canvas-moving-beyond-the-page/", "topic": "code"}
{"rowid": 90, "title": "Monkey Business", "contents": "\u201cToo expensive.\u201d \u201cOver-priced.\u201d \u201cA bit rich.\u201d\n\nThey all mean the same thing.\n\nWhen you say that something\u2019s too expensive, you\u2019re doing much more than commenting on a price. You\u2019re questioning the explicit or implicit value of a product or a service. You\u2019re asking, \u201cWill I get out of it what you want me to pay for it?\u201d You\u2019re questioning the competency, judgement and possibly even integrity of the individual or company that gave you that price, even though you don\u2019t realise it. You might not be saying it explicitly, but what you\u2019re implying is, \u201cHave you made a mistake?\u201d, \u201cAm I getting the best deal?\u201d, \u201cAre you being honest with me?\u201d, \u201cCould I get this cheaper?\u201d\n\nFinally, you\u2019re being dishonest, because deep down you know all too well that there\u2019s no such thing as too expensive. \n\nWhy? \n\nIt doesn\u2019t matter what you\u2019re questioning the price of. It could be a product, a service or the cost of an hour, day or week of someone\u2019s time. Whatever you\u2019re buying, too expensive is always an excuse. Saying it shifts acceptability of a price back to the person who gave it. What you should say, but are too afraid to admit, is:\n\n\n\t\u201cIt\u2019s more money than I wanted to pay.\u201d\n\t\u201cIt\u2019s more than I estimated it would cost.\u201d\n\t\u201cIt\u2019s more than I can afford.\u201d\n\n\nEveryone who\u2019s given a price for a product or service will have been told at some point that it\u2019s too expensive. It\u2019s never comfortable to hear that. Thoughts come thick and fast: \u201cWhat do I do?\u201d \u201cHow do I react?\u201d \u201cDo I really want the business?\u201d \u201cAm I prepared to negotiate?\u201d \u201cHow much am I willing to compromise?\u201d\n\nIt\u2019s easy to be defensive when someone questions a price, but before you react, stay calm and remember that if someone says what you\u2019re offering is too expensive, they\u2019re saying more about themselves and their situation than they are about your price. Learn to read that situation and how to follow up with the right questions.\n\nImagine you\u2019ve quoted someone for a week of your time. \u201cThat\u2019s too expensive,\u201d they respond. How should you handle that? Think about what they might otherwise be saying.\n\n\n\n\u201cIt\u2019s more money than I want to pay\u201d may mean that they don\u2019t understand the value of your service. How could you respond?\n\nStart by asking what similar projects they\u2019ve worked on and the type of people they worked with. Find out what they paid and what they got for their money, because it\u2019s possible what you offer is different from what they had before. Ask if they saw a return on that previous investment. Maybe their problem isn\u2019t with your headline price, but the value they think they\u2019ll receive. Put the emphasis on value and shift the conversation to what they\u2019ll gain, rather than what they\u2019ll spend.\n\nIt\u2019s also possible they can\u2019t distinguish your service from those of your competitors, so now would be a great time to explain the differences. Do you work faster? Explain how that could help them launch faster, get customers faster, make money faster. Do you include more? Emphasise that, and how unique the experience of working with you will be.\n\n\n\n\u201cIt\u2019s more than I estimated it would cost\u201d could mean that your customer hasn\u2019t done their research properly. You\u2019d never suggest that to them, of course, but you should ask how they\u2019ve arrived at their estimate. Did they base it on work they\u2019ve purchased previously? How long ago was that? Does it come from comparable work or from a different sector?\n\nHelp your customer by explaining how you arrived at your estimate. Break down each element and while you\u2019re doing that, emphasise the parts of your process that you know will appeal to them. If you know that they\u2019ve had difficulty with something in the past, explain how your approach will benefit them. People almost always value a positive experience more than the money they\u2019ll save.\n\n\n\n\u201cIt\u2019s more than I can afford\u201d could mean they can\u2019t afford what you offer at all, but it could also mean they can\u2019t afford it right now or all at once. So ask if they could afford what you\u2019re asking if they spread payment over a longer period? Ask, \u201cWould that mean you\u2019ll give me the business?\u201d\n\nIt\u2019s possible they\u2019re asking for too much for what they can afford to pay. Will they compromise? Can you reach an agreement on something less? Ask, \u201cIf we can agree what\u2019s in and what\u2019s out, will you give me the business?\u201d\n\nWhat can they afford? When you know, you\u2019re in a good position to decide if the deal makes good business sense, for both of you. Ask, \u201cIf I can match that price, will you give me the business?\u201d\n\nThere\u2019s no such thing as \u201ca bit rich\u201d, only ways for you to get to know your customer better. There\u2019s no such thing as \u201cover-priced\u201d,\u00a0only opportunities for you to explain yourself better. You should relish those opportunities. There\u2019s really also no such thing as \u201ctoo expensive\u201d, just ways to set the tone for your relationship and help you develop that relationship to a point where money will be less of a deciding factor.\n\nUnfinished Business\n\nJoin me and my co-host Anna Debenham next year for Unfinished Business, a new discussion show about the business end of working in web, design and creative industries.", "year": "2012", "author": "Andy Clarke", "author_slug": "andyclarke", "published": "2012-12-23T00:00:00+00:00", "url": "https://24ways.org/2012/monkey-business/", "topic": "business"}
{"rowid": 92, "title": "Redesigning the Media Query", "contents": "Responsive web design is showing us that designing content is more important than designing containers. But if you\u2019ve given RWD a serious try, you know that shifting your focus from the container is surprisingly hard to do. There are many factors and\ninstincts working against you, and one culprit is a perpetrator you\u2019d least suspect.\n\nThe media query is the ringmaster of responsive design. It lets us establish the rules of the game and gives us what we need most: control. However, like some kind of evil double agent, the media query is actually working against you.\n\nIts very nature diverts your attention away from content and forces you to focus on the container.\n\nThe very act of choosing a media query value means choosing a screen size.\n\nLook at the history of the media query\u2014it\u2019s always been about the container. Values like screen, print, handheld and tv don\u2019t have anything to do with content. The modern media query lets us choose screen dimensions, which is great because it makes RWD possible. But it\u2019s still the act of choosing something that is completely unpredictable.\n\nContent should dictate our breakpoints, not the container. In order to get our focus back to the only thing that matters, we need a reengineered media query\u2014one that frees us from thinking about screen dimensions. A media query that works for your content, not the window. Fortunately, Sass 3.2 is ready and willing to take on this challenge.\n\nThinking in Columns\n\nFluid grids never clicked for me. I feel so disoriented and confused by their squishiness. Responsive design demands their use though, right?\n\nI was ready to surrender until I found a grid that turned my world upright again. The Frameless Grid by Joni Korpi demonstrates that column and gutter sizes can stay fixed. As the screen size changes, you simply add or remove columns to accommodate. This made sense to me and armed with this concept I was able to give Sass the first component it needs to rewrite the media query: fixed column and gutter size variables.\n\n$grid-column: 60px;\n$grid-gutter: 20px;\n\nWe\u2019re going to want some resolution independence too, so let\u2019s create a function that converts those nasty pixel values into ems.\n\n@function em($px, $base: $base-font-size) {\n\t@return ($px / $base) * 1em;\n}\n\nWe now have the components needed to figure out the width of multiple columns in ems. Let\u2019s put them together in a function that will take any number of columns and return the fixed width value of their size.\n\n@function fixed($col) {\n\t@return $col * em($grid-column + $grid-gutter)\n}\n\nWith the math in place we can now write a mixin that takes a column count as a parameter, then generates the perfect media query necessary to fit that number of columns on the screen. We can also build in some left and right margin for our layout by adding an additional gutter value (remembering that we already have one gutter built into our fixed function).\n\n@mixin breakpoint($min) {\n\t@media (min-width: fixed($min) + em($grid-gutter)) {\n\t\t@content\n\t}\n}\n\nAnd, just like that, we\u2019ve rewritten the media query. Instead of picking a minimum screen size for our layout, we can simply determine the number of columns needed. Let\u2019s add a wrapper class so that we can center our content on the screen.\n\n@mixin breakpoint($min) {\n    @media (min-width: fixed($min) + em($grid-gutter)) {\n\t.wrapper {\n\t\twidth: fixed($min) - em($grid-gutter);\n\t\tmargin-left: auto; margin-right: auto;\n\t}\n\t@content\n    }\n}\n\nDesigning content with a column count gives us nice, easy, whole numbers to work with. Sizing content, sidebars or widgets is now as simple as specifying a single-digit number.\n\n@include breakpoint(8) {\n\t.main { width: fixed(5); }\n\t.sidebar { width: fixed(3); }\n}\n\nThose four lines of Sass just created a responsive layout for us. When the screen is big enough to fit eight columns, it will trigger a fixed width layout. And give widths to our main content and sidebar. The following is the outputted CSS\u2026\n\n@media (min-width: 41.25em) {\n  .wrapper {\n    width: 38.75em;\n    margin-left: auto; margin-right: auto;\n  }\n  .main { width: 25em; }\n  .sidebar { width: 15em; }\n}\n\nDemo\n\nI\u2019ve created a Codepen demo that demonstrates what we\u2019ve covered so far. I\u2019ve added to the demo some grid classes based on Griddle by Nicolas Gallagher to create a floatless layout. I\u2019ve also added a CSS gradient overlay to help you visualize columns. Try changing the column variable sizes or the breakpoint includes to see how the layout reacts to different screen sizes.\n\nResponsive Images\n\nResponsive images are a serious problem, but I\u2019m excited to see the community talk so passionately about a solution. Now, there are some excellent stopgaps while we wait for something official, but these solutions require you to mirror your breakpoints in JavaScript or HTML. This poses a serious problem for my Sass-generated media queries, because I have no idea what the real values of my breakpoints are anymore. For responsive images to work, JavaScript needs to recognize which media query is active so that proper images can be loaded for that layout.\n\nWhat I need is a way to label my breakpoints. Fortunately, people much smarter than I have figured this out. Jeremy Keith devised a labeling method by using CSS-generated content as the storage method for breakpoint labels. We can use this technique in our breakpoint mixin by passing a label as another argument.\n\n@include breakpoint(8, 'desktop') { /* styles */ }\n\nSass can take that label and use it when writing the corresponding media query. We just need to slightly modify our breakpoint mixin.\n\n@mixin breakpoint($min, $label) {\n    @media (min-width: fixed($min) + em($grid-gutter)) {\n\n        // label our mq with CSS generated content\n\tbody::before { content: $label; display: none; }\n\n\t.wrapper {\n\t\twidth: fixed($min) - em($grid-gutter);\n\t\tmargin-left: auto; margin-right: auto;\n\t}\n\t@content\n    }\n}\n\nThis allows us to label our breakpoints with a user-friendly string. Now that our media queries are defined and labeled, we just need JavaScript to step in and read which label is active.\n\n// get css generated label for active media query\nvar label = getComputedStyle(document.body, '::before')['content'];\n\nJavaScript now knows which layout is active by reading the label in the current media query\u2014we just need to match that label to an image. I prefer to store references to different image sizes as data attributes on my image tag.\n\n<img class=\"responsive-image\" data-mobile=\"mobile.jpg\" data-desktop=\"desktop.jpg\" />\n<noscript><img src=\"desktop.jpg\" /></noscript>\n\nThese data attributes have names that match the labels set in my CSS. So while there is some duplication going on, setting a keyword like \u2018tablet\u2019 in two places is much easier than hardcoding media query values. With matching labels in CSS and HTML our script can marry the two and load the right sized image for our layout.\n\n// get css generated label for active media query\nvar label = getComputedStyle(document.body, '::before')['content'];\n\n// select image\nvar $image = $('.responsive-image');\n\n// create source from data attribute\n$image.attr('src', $image.data(label));\n\nDemo\n\nWith some slight additions to our previous Codepen demo you can see this responsive image technique in action. While the above JavaScript will work it is not nearly robust enough for production so the demo uses a jQuery plugin that can accomodate multiple images, reloading on screen resize and fallbacks if something doesn\u2019t match up.\n\nCreating a Framework\n\nThis media query mixin and responsive image JavaScript are the center piece of a front end framework I use to develop websites. It\u2019s a fluid, mobile first foundation that uses the breakpoint mixin to structure fixed width layouts for tablet and desktop. Significant effort was focused on making this framework completely cross-browser. For example, one of the problems with using media queries is that essential desktop structure code ends up being hidden from legacy Internet Explorer. Respond.js is an excellent polyfill, but if you\u2019re comfortable serving a single desktop layout to older IE, we don\u2019t need JavaScript. We simply need to capture layout code outside of a media query and sandbox it under an IE only class name.\n\n// set IE fallback layout to 8 columns\n$ie-support = 8;\n\n// inside of our breakpoint mixin (but outside the media query)\n@if ($ie-support and $min <= $ie-support) {\n\t.lt-ie9 { @content; }\n}\n\nPerspective Regained\n\nThinking in columns means you are thinking about content layout. How big of a screen do you need for 12 columns? Who cares? Having Sass write media queries means you can use intuitive numbers for content layout. A fixed grid means more layout control and less edge cases to test than a fluid grid. Using CSS labels for activating responsive images means you don\u2019t have to duplicate breakpoints across separations of concern. \n\nIt\u2019s a harmonious blend of approaches that gives us something we need\u2014responsive design that feels intuitive. And design that, from the very outset, focuses on what matters most. Just like our kindergarten teachers taught us: It\u2019s what\u2019s inside that counts.", "year": "2012", "author": "Les James", "author_slug": "lesjames", "published": "2012-12-13T00:00:00+00:00", "url": "https://24ways.org/2012/redesigning-the-media-query/", "topic": "code"}
{"rowid": 79, "title": "Responsive Images: What We Thought We Needed", "contents": "If you were to read a web designer\u2019s Christmas wish list, it would likely include a solution for displaying images responsively. For those concerned about users downloading unnecessary image data, or serving images that look blurry on high resolution displays, finding a solution has become a frustrating quest.\n\nHaving experimented with complex and sometimes devilish hacks, consensus is forming around defining new standards that could solve this problem. Two approaches have emerged.\n\nThe <picture> element markup pattern was proposed by Mat Marquis and is now being developed by the Responsive Images Community Group. By providing a means of declaring multiple sources, authors could use media queries to control which version of an image is displayed and under what conditions:\n\n<picture width=\"500\" height=\"500\">\n  <source media=\"(min-width: 45em)\" src=\"large.jpg\">\n  <source media=\"(min-width: 18em)\" src=\"med.jpg\">\n  <source src=\"small.jpg\">\n  <img src=\"small.jpg\" alt=\"\">\n  <p>Accessible text</p>\n</picture>\n\nA second proposal put forward by Apple, the srcset attribute, uses a more concise syntax intended for use with the <img> element, although it could be compatible with the <picture> element too. This would allow authors to provide a set of images, but with the decision on which to use left to the browser:\n\n<img src=\"fallback.jpg\" alt=\"\" srcset=\"small.jpg 640w 1x, small-hd.jpg 640w 2x, med.jpg 1x, med-hd.jpg 2x \">\n\nEnter Scrooge\n\n\n\tMen\u2019s courses will foreshadow certain ends, to which, if persevered in, they must lead.\nEbenezer Scrooge\n\n\nGiven the complexity of this issue, there\u2019s a heated debate about which is the best option. Yet code belies a certain truth. That both feature verbose and opaque syntax, I\u2019m not sure either should find its way into the browser \u2013 especially as alternative approaches have yet to be fully explored.\n\nSo, as if to dampen the festive cheer, here are five reasons why I believe both proposals are largely redundant.\n\n1. We need better formats, not more markup\n\nAs we move away from designs defined with fixed pixel values, bitmap images look increasingly unsuitable. While simple images and iconography can use scalable vector formats like SVG, for detailed photographic imagery, raster formats like GIF, PNG and JPEG remain the only suitable option.\n\nThere is scope within current formats to account for varying bandwidth but this requires cooperation from browser vendors. Newer formats like JPEG2000 and WebP generate higher quality images with smaller file sizes, but aren\u2019t widely supported.\n\nWhile it\u2019s tempting to try to solve this issue by inventing new markup, the crux of it remains at the file level.\n\nDaan Jobsis\u2019s experimentation with image compression strengthens this argument. He discovered that by increasing the dimensions of a JPEG image while simultaneously reducing its quality, a smaller files could be produced, with the resulting image looking just as good on both standard and high-resolution displays.\n\nThis may be a hack in lieu of a more permanent solution, but it\u2019s applied in the right place. Easy to accomplish with existing tools and without compatibility issues, it has few downsides. Further experimentation in this area should be encouraged, with standardisation efforts more helpful if focused on developing new image formats or, preferably, extending existing ones.\n\n2. Art direction doesn\u2019t belong in markup\n\nA desired benefit of the <picture> markup pattern is to allow for greater art direction. For example, rather than scaling down images on smaller displays to the point that their content is hard to discern, we could present closer crops instead:\n\n\n\nThis can be achieved with CSS of course, although with a download penalty for those parts of an image not shown. This point may be negligible, however, since in the context of adaptable layouts, these hidden areas may end up being revealed anyway.\n\nArt direction concerns design, not content. If we wish to maintain a separation of concerns, including presentation within our markup seems misguided.\n\n3. The size of a display has little relation to the size of an image\n\nBy using media queries, the <picture> element allows authors to choose which characteristics of the screen or viewport to query for different images to be displayed.\n\nIn developing sites at Clearleft, we have noticed that the viewport is essentially arbitrary, with the size of an image\u2019s containing element more important. For example, look at how this grid of images may adapt at different viewport widths:\n\n\n\nAs we build more modular systems, components need to be adaptable in and of themselves. There is a case to be made for developing more contextual methods of querying, rather than those based on attributes of the display.\n\n4. We haven\u2019t lived with the problem long enough\n\nA key strength of the web is that the underlying platform can be continually iterated. This can also be problematic if snap judgements are made about what constitutes an improvement.\n\nThe early history of the web is littered with such examples, be it the perceived need for blinking text or inline typographic styling. To build a platform for the future, additions to it should be carefully considered. And if we want more consistent support across browsers, burdening vendors with an ever increasing list of features seems counterproductive.\n\nOnly once the need for a new feature is sufficiently proven, should we look to standardise it. Before we could declare hover effects, rounded corners and typographic styling in CSS, we used JavaScript as a polyfill. Sure, doing so was painful, but use cases were fully explored, and the CSS specification better reflected the needs of authors.\n\n5. Images and the web aesthetic\n\nThe srcset proposal has emerged from a company that markets its phones as being able to browse the real \u2013 yet squashed down, tapped and zoomable \u2013 web. Perhaps Apple should make its own website responsive before suggesting how the rest of us should do so.\n\nConverserly, while the <picture> proposal has the backing of a few respected developers and designers, it was born out of the work Mat Marquis and Filament Group did for the Boston Globe. As the first large-scale responsive design, this was a landmark project that ignited the responsive web design movement and proved its worth. But it was the first.\n\nIts design shares a vernacular to that of contemporary newspaper websites, with a columnar, image-laden and densely packed layout. Compared to more recent examples \u2013 Quartz, The Next Web and the New York Times Skimmer \u2013 it feels out of step with the future direction of news sites. In seeking out a truer aesthetic for the web in which software interfaces have greater influence, we might discover that the need for responsive images isn\u2019t as great as originally thought.\n\n\n\nBuilding for the future\n\nWith responsive design, we\u2019ve accepted the idea that a fully fluid layout, rather than a set of fixed layouts, is best suited to the web\u2019s unpredictable nature. Current responsive image proposals are antithetical to this approach.\n\nWe need solutions that lack complexity, are device-agnostic and work within existing workflows. Any proposal that requires different versions of the same image to be created, is likely to have to acquiesce under the pressure of reality.\n\nWhile it\u2019s easy to get distracted about the size and quality of an image, and how we might choose to serve it, often the simplest solution is not to include it at all. After years of gluttonous design practice, in which fast connections and expansive display sizes were an accepted norm, we have got use to filling pages with needless images and countless items of page furniture.\n\nTo design more adaptable experiences, the presence of every element needs to be questioned, for its existence requires additional data to be downloaded or futher complexity within a design system. Conditional loading techniques mean that the inclusion of images is no longer a binary choice, but can instead appear in a progressively enhanced manner.\n\nSo here is my proposal. Instead of spending the next year worrying about responsive images, let\u2019s embrace the constraints of the medium, and seek out new solutions that can work within them.", "year": "2012", "author": "Paul Lloyd", "author_slug": "paulrobertlloyd", "published": "2012-12-11T00:00:00+00:00", "url": "https://24ways.org/2012/responsive-images-what-we-thought-we-needed/", "topic": "code"}
{"rowid": 84, "title": "Responsive Responsive Design", "contents": "Now more than ever, we\u2019re designing work meant to be viewed along a gradient of different experiences. Responsive web design offers us a way forward, finally allowing us to \u201cdesign for the ebb and flow of things.\u201d\n\n\nWith those two sentences, Ethan closed the article that introduced the web to responsive design. Since then, responsive design has taken the web by storm. Seemingly every day, some company is touting their new responsive redesign. Large brands such as Microsoft, Time and Disney are getting in on the action, blowing away the once common criticism that responsive design was a technique only fit for small blogs.\n\nCertainly, this is a good thing. As Ethan and John Allsopp before him, were right to point out, the inherent flexibility of the web is a feature, not a bug. The web\u2019s unique ability to be consumed and interacted with on any number of devices, with any number of input methods is something to be embraced.\n\nBut there\u2019s one part of the web\u2019s inherent flexibility that seems to be increasingly overlooked: the ability for the web to be interacted with on any number of networks, with a gradient of  bandwidth constraints and latency costs, on devices with varying degrees of hardware power.\n\nA few months back, Stephanie Rieger tweeted\n\n\n\t\u201cShoot me now\u2026responsive design has seemingly become confused with an opportunity to reduce performance rather than improve it.\u201d\n\n\nI would love to disagree, but unfortunately the evidence is damning. Consider the size and number of requests for four highly touted responsive sites that were launched this year:\n\n\n\t74 requests, 1,511kb\n\t114 requests, 1,200kb\n\t99 requests, 1,298kb\n\t105 requests, 5,942kb\n\n\nAnd those numbers were for the small screen versions of each site!\n\nThese sites were praised for their visual design and responsive nature, and rightfully so. They\u2019re very easy on the eyes and a lot of thought went into their appearance. But the numbers above tell an inconvenient truth: for all the time spent ensuring the visual design was airtight, seemingly very little (if any) attention was given to their performance.\n\nIt would be one thing if these were the exceptions, but unfortunately they\u2019re not. Guy Podjarny, who has done a lot of research around responsive performance, discovered that 86% of the responsive sites he tested were either the same size or larger on the small screen as they were on the desktop.\n\nThe reality is that high performance should be a requirement on any web project, not an afterthought. Poor performance has been tied to a decrease in revenue, traffic, conversions, and overall user satisfaction. Case study after case study shows that improving performance, even marginally, will impact the bottom line. The situation is no different on mobile where 71% of people say they expect sites to load as quickly or faster on their phone when compared to the desktop.\n\nThe bottom line: performance is a fundamental component of the user experience.\n\nSo, given it\u2019s extreme importance in the success of any web project, why is it that we\u2019re seeing so many bloated responsive sites?\n\nFirst, I adamantly disagree with the belief that poor performance is inherent to responsive design. That\u2019s not a rule \u2013 it\u2019s a cop-out. It\u2019s an example of blaming the technique when we should be blaming the implementation. This argument also falls flat because it ignores the fact that the trend of fat sites is increasing on the web in general. While some responsive sites are the worst offenders, it\u2019s hardly an issue resigned to one technique.\n\nTo fix the issue, we need to stop making excuses and start making improvements instead. Here, then, are some things we can do to start improving the state of responsive performance, and performance in general, right now.\n\nCreate a culture of performance\n\nIf you understand just how important performance is to the success of a project, the natural next step is to start creating a culture where high performance is a key consideration. \n\nOne of the things you can do is set a baseline. Determine the maximum size and number of requests you are going to allow, and don\u2019t let a page go live if either of those numbers is exceeded. The BBC does this with its responsive mobile site.\n\nA variation of that, which Steve Souders discussed in a recent podcast is to create a performance budget based on those numbers. Once you have that baseline set, if someone comes along and wants to add a something to the page, they have to make sure the page remains under budget. If it exceeds the budget, you have three options:\n\n\n\tOptimize an existing feature or asset on the page\n\tRemove an existing feature or asset from the page\n\tDon\u2019t add the new feature or asset\n\n\nThe idea here is that you make performance part of the process instead of something that may or may not get tacked on at the end.\n\nEmbrace the pain\n\nThis troubling trend of web bloat can be blamed in part on the lack of pain associated with poor performance. Most of us work on high-speed connections with low latency. When we fire up a 4Mb site, it doesn\u2019t feel so bad. \n\nWhen I tested the previously mentioned 5,942kb site on a 3G network, it took over 93 seconds to load. A minute and a half just staring at a white screen. Had anyone working on that project experienced that, you can bet the site wouldn\u2019t have launched in that state.\n\nDon\u2019t just crunch numbers. Fire up your site on a slower network and see what it feels like to wait. If you don\u2019t have access to a slow network, simulate one using a tool like Slowy, Throttle or the Network Conditioner found in Mac OS X 10.7.\n\nWatch for low-hanging fruit\n\nThere are a bunch of general performance improvements that apply to any site (responsive or not) but often aren\u2019t made. A great starting point is to refer to Yahoo!\u2018s list of rules.\n\nSome of this might sound complicated or intimidating, but it doesn\u2019t have to be. You can grab an .htaccess file from HTML 5 Boilerplate or use Sergey Chernyshev\u2019s drop-in .htaccess file. You can use tools like SpriteMe to simplify the creation of sprites, and ImageOptim to compress images.\n\nJust by implementing these simple optimizations you will achieve a noticeable improvement in terms of weight and page load time.\n\nBe careful with images\n\nThe most common offender for poor responsive performance is downloading unnecessarily large images, or worse yet, multiple sizes of the same image. \n\nFor background images, simply being careful with where and how you include the image can ensure you don\u2019t get caught in the trap of multiple background images being downloaded without being used. Don\u2019t count on display:none to help. While it may hide elements from displaying on screen, those images will still be requested and downloaded.\n\nContent images can be a little trickier. Whatever you do, don\u2019t serve a large image that works on a large screen display to small screens. It\u2019s wasteful, not only in terms of adding weight to the page, but also in wasting precious memory. Instead, use a tool like Adaptive Images or src.sencha.io to make sure only appropriately sized images are being downloaded. \n\nThe new <picture> element that has been so often discussed is another excellent solution if you\u2019re feeling particularly future-oriented. A picture polyfill exists so that you can start using the element now without any worries about support.\n\nConditional loading\n\nDon\u2019t load any more than you absolutely need to. If a script isn\u2019t needed at certain sizes, use the matchMedia polyfill to ensure it only loads when needed. Use eCSSential to do the same for unnecessary CSS files.\n\nLast year on 24 ways, Jeremy Keith wrote an article about conditional loading of content in a responsive design based on the screen width. The technique was later refined by the Filament Group into what they dubbed the Ajax-Include Pattern. It\u2019s a powerful and simple way to lighten the load on small screens as well as reduce clutter.\n\nGo vanilla?\n\nIf you take a look at the HTTP Archive you\u2019ll see that other than image size, JavaScript is the heaviest asset on a page weighing in at 215kb on average. It also boasts the fifth highest correlation to load time as well as the second highest correlation to render time. \n\nMuch of the weight can be attributed to our industry\u2019s increasing reliance on frameworks. This is especially a concern on mobile devices. PPK recently exclaimed that current JavaScript libraries are just \u201ctoo heavy for mobile\u201d. \u201cResearch from Stoyan Stefanov on parse times supports this. On some Android and iOS devices, it can take as long as 200-300ms just to parse jQuery.\n\nThere\u2019s nothing wrong about using a framework, but the problem is that they\u2019ve become the default. Before dropping another framework or plugin into a page, we should stop to consider the value it adds and whether we could accomplish what we need to do using a combination of vanilla JavaScript and CSS instead. (This is a great example of a scenario where a performance budget could help.)\n\nStart thinking beyond visual aesthetics\n\nWe love to tout the web\u2019s universality when discussing the need for responsive design. But that universality is not limited simply to screen size. Networks and hardware capabilities must factor in as well.\n\nThe web is an incredibly dynamic and interactive medium, and designing for it demands that we consider more than just visual aesthetics. Let\u2019s not forget to give those other qualities the attention they deserve.", "year": "2012", "author": "Tim Kadlec", "author_slug": "timkadlec", "published": "2012-12-05T00:00:00+00:00", "url": "https://24ways.org/2012/responsive-responsive-design/", "topic": "design"}
{"rowid": 81, "title": "Science!", "contents": "Sometimes we want to capture people\u2019s attention at a glance to communicate something fast. At other times we want to have the interface fade away into the background, letting people paint pictures in their minds with our words (if you\u2019ll forgive a little flowery festive flourish).\n\nI tend to distinguish between these two broad objectives as designing for impact on the one hand, and designing for immersion on the other. What defines them is interruption. Impact needs an attention-grabbing interruption. Immersion requires us to remove interruption from the interface. Careful design deliberately interrupts but doesn\u2019t accidentally disrupt. If that seems to make sense to you, then you\u2019ll find the following snippets of science as useful as I did.\n\nSaccades and fixations\n\nAs you\u2019re reading this your eyes are skipping along the lines in tiny jumps. During each jump everything is blurred. Each jump ends in a small pause so your brain can take a snapshot of the letters. It arranges them into words, and then parses out the meaning \u2014 fast \u2014 in around a quarter of a second.\n\nThe jumps are called saccades. The pauses are called fixations. Sometimes we take regressive saccades, skipping back to reread. There\u2019s a simple example in the excellent little book, Detail in Typography, by Jost Hochuli.\n\n\n\nIf you want to explore the science of reading in much more depth, I recommend the excellent paper, \u201cThe Science of Word Recognition\u201d, by Dr Kevin Larson of Microsoft.\n\nTo design for legibility and readability is to design for saccades and fixations. It\u2019s the craft of making it easy for people\u2019s brains to extract meaning, using techniques like good contrast, font size, spacing and structure, and only interrupting the reading experience deliberately.\n\nScan paths\n\nAt some point when visiting 24 ways you probably scanned the screen to get orientated. The journey your eyes took is known as a scan path. Scan paths are made up of saccades and fixations. Right now you\u2019re following a scan path as you read, along one line, and down to the next. This is a map of the scan paths found by Olivier Le Meur from observing people looking at Rembrandt\u2019s Le\u00e7on d\u2019anatomie:\n\n\n\nFor websites, the scan path is a little different. This is an aggregate scan path of Google from LC Technologies:\n\n\n\nThe average shape of a website scan path becomes clearer in this average scan path taken by forty-six people during research by the Poynter Institute, the Estlow Center for Journalism & New Media, and Eyetools:\n\n\n\nJust like when we read text arranged left to right in a vertical column, scan paths follow a roughly Z-shaped pattern from the top left to bottom right. Sometimes we skip back to reread a word or sentence, or glance again at a specific element, but the Z-shaped scan path persists.\n\nDesigning for scan paths is to organise content to help people move through an interface to get orientated, and to read.\n\nThe elements that are important enough to need impact must interrupt the scan path and clearly call attention to themselves. However, they don\u2019t always need to clip people round the ear from multiple directions at once to get attention. It helps to list elements by importance. That gives us an interruption hierarchy to work with. Elements can then interrupt the design with degrees of contrast to the rest of the content using either positioning, treatment, or both. Ta-da! Impact achieved, but gently. No clips round the ear required.\n\nSwinging mood\n\nHuman beings are resilient. Among the immersion and occasional interruptions, we even like a little disruption, especially if it\u2019s absurd and funny. The Ling\u2019s Cars website proves it. In fact, we\u2019re so resilient that we can work around all kinds of mayhem to get a seemingly simple task done.\n\nIn one study, \u201cThe Aesthetics of Reading\u201d (PDF, 480Kb), Dr Kevin Larson of Microsoft and Dr Rosalind Picard of MIT explored the effect of good typography on mood. Two versions of the New Yorker ePeriodical were created. One was typeset well and the other poorly.\n\n\n\nThey engaged twenty volunteers \u2014 half male, half female \u2014 and showed the good version to half of the participants. The other half saw the poor version.\n\nThe good doctors found that, \u201cthere are important differences between good and poor typography that appear to have little effect on common performance measures such as reading speed and comprehension.\u201d In short, good typography didn\u2019t help people read faster or comprehend better.\n\nOh. On the face of it that seems to invalidate what we designers do. Hold your horses, though! They also found that \u201cthe participants who received the good typography performed better on relative subjective duration and on certain cognitive tasks\u201d, and that \u201cgood typography induces a good mood.\u201d\n\nThis means that even though there were no actual differences in reading speed and comprehension, the people who read the version with good typography thought that it took less time to read, and were induced into a good mood by doing so. Not only that, but by being in a good mood, people were more capable of completing creative tasks faster.\n\nThat was a revelation to me. It means that the study showed there is a positive, measurable, emotional and perceptual benefit to good typography and design. To paraphrase: time and tasks fly when you\u2019re having fun!\n\n\n\nSource: Nationaal Archief of the Netherlands: Cheering man after the first goal, Netherlands vs. Belgium, Amsterdam, 1931.\n\nSo, among all my talk of saccades, fixations, scan paths and typesetting, there is science, and the science helps us qualify our design decisions when we need to, and do our jobs better. The science helps us understand how people will interact with our work, and what the actual benefits are for them, and the products or organisations we serve. Good design equals a subjectively quicker experience, a good mood, objectively faster completion of tasks, and happiness for everyone. Thank you, science!", "year": "2012", "author": "Jon Tan", "author_slug": "jontan", "published": "2012-12-24T00:00:00+00:00", "url": "https://24ways.org/2012/science/", "topic": "design"}
{"rowid": 74, "title": "Should We Be Reactive?", "contents": "Evolution\n\nLooking at the evolution of the web and the devices we use should help remind us that the times we\u2019re adjusting to are just another step on a journey. These times seem to be telling us that we need to embrace flexibility.\n\nImagine an HTML file containing nothing but text. It\u2019s viewable on any web-capable device and reasonably readable: the notion of the universality of the web was very much a founding principle. Right from the beginning, browser vendors understood that we\u2019d want text to reflow (why wouldn\u2019t we?), so I consider the first websites to have been fluid. \n\nAs we attempted to exert more control through our designs in the early days of the web, debates about whether we should produce fixed or fluid sites raged. We could create fluid designs using tables, but what we didn\u2019t have then was a wide range of web capable devices or the ability to control this fluidity. The biggest changes occurred when stats showed enough people using a different screen resolution we could cater for.\n\nTo me, the techniques of responsive web design provide the control we were missing. Combining new approaches to layout and images with media queries empowered us to learn how to embrace the inherent flexibility of the web in ways to suit our work and the devices used by our audience.\n\nPerhaps another kind of flexibility might be found in how we use context to affect how we present our content; to consider how we might use the information we can access from people, browsers and devices to provide web experiences \u2013 effectively creating sites that react to initial or changing circumstances in the relationship between people and our content.\n\nEmbracing flexibility\n\nSo what is context? Put simply, you could think of it as a secondary piece of information that helps clarify the meaning of the first. It helps set a scene or describe circumstances. I think that Cennydd Bowles has summed it up really well through talks he\u2019s given recently, in which he\u2019s arrived at the acronym DETAILS (Device, Environment, Time, Activity, Individual, Location, Social) \u2013 I encourage you to keep an eye out for his next book due in the new year where he\u2019ll explore this idea much further. This clarity over what context could mean in terms of what we do on the web is fundamental, directing us towards ways we might use it.\n\nWhen you stop to think about it, we\u2019ve been using some basic pieces of this information right from the beginning, like bits of JavaScript or Java applets that serve an appropriate greeting to your site\u2019s visitors, or show their location, or even local weather. But what if we think of this from the beginning of our projects?\n\nWe should think about our content first. Once we know this and have a direction, perhaps then we can think about what context, or even multiple contexts, might help us to communicate more effectively.\n\nThe real world\n\nThere\u2019s always been a disconnect between the real world and the web, which is to be expected. But the world around us is a sea of data; every fundamental building block: people, places, events and things have information waiting to be explored. \n\nFor sites based around physical objects or locations, this divide is really apparent. We don\u2019t ordinarily take the time to describe in code the properties of a place, or consider whether your relationship to the place in the real world should have any impact on your relationship with a site about it.\n\nWhen I think about local businesses, they have such rich properties to draw on and yet we don\u2019t really explore them in any meaningful way, even through something as simple as opening hours.\n\nNow we have data\u2026\n\nWe\u2019ve long had access to the current time both on server- and client-sides. The use of geolocation is easier than ever, but when we look at the range of information we could glean to help us make some choices, maybe there\u2019s some help on the horizon from projects like the W3C Device APIs Working Group. This might prove useful to help make us aware of network and battery conditions of a device, along with the potential to gain data from other sensors, which could tell us about lighting conditions, ambient noise levels and temperature depending on the capabilities of the device.\n\nIt may be that our sites have some form of login or access to your profile from another site. Along with data from our devices and browsers, this should give us a sense of how best to talk to our audience in certain situations. We don\u2019t necessarily need to know any personal details, just enough to make decisions about how to present our sites.\n\nThe reactive web?\n\nSo why reactive web design? I\u2019m hoping that a name might help us to have a common vocabulary not only about what we mean when we talk about context, but how it could be considered through our projects, right from the early stages. How could this manifest itself?\n\nA simple example might be a location-aware panel on your site. Perhaps the space is a little down in your content hierarchy but serves a perfectly valid purpose by default. To visitors outside the country perhaps this works fine, but within your country maybe this panel could be used to communicate more effectively. Further still, if we knew the visitors were in the vicinity, we could talk to them more directly. \n\nWhat if both time and location were relevant? This space could work as before but you could consider how time could intersect with your local audience. If you know they\u2019re local and it\u2019s a certain time of day, you could communicate directly with them.\n\nThis example isn\u2019t beyond what banner ads often do and uses easily accessible information. There are more unusual combinations we may be able to find, such as movement and presence. Perhaps a site that tells a story, which changes design and content based on whether you\u2019re moving, how long you\u2019ve been on the site and how far you\u2019ve travelled. This isn\u2019t what we typically expect from websites, but we should bear in mind that what websites are now will not be what they become in the future.\n\nYou could do much of this contextual presentation through native apps, of course. The Silent History, an app novel written and designed for iPad and iPhone, uses an exploration element, providing \u201chundreds of location-based stories across the U.S. and around the world. These can be read only when your device\u2019s GPS matches the coordinates of the specified location.\u201d But considering the universality of the web, we could redefine what web-based experiences should be like. Not all methods would work well on the web, but that\u2019s a decision that has to be made for a specific project.\n\nBy thinking more broadly about any web-capable device, we can use what we know to provide relevant experiences for our site\u2019s visitors. We need to be sure what we mean by relevant, of course!\n\nReality bites\n\nWhile there are incredible possibilities, from a simple panel on a site to something bordering on living sites that evolve and change with our circumstances, we need to act with a degree of pragmatism and understand how much of what we could do is based on assumptions and the bias of our own experiences.\n\nWe could go wild with changing the way our content is presented based on contextual information, but if we\u2019re not careful what we end up with confuses and could provide a very fractured experience. As much as possible we need to think more ethnographically, observe and question people in the situations we think may be relevant, and test our assumptions as early as we can. Even on small projects, there may be ways we can validate our assumptions and test with our audience. The key to applying contextual content or cues is not to break the experience between contextual views (as I think we now wouldn\u2019t when hiding content on a mobile view). \n\nIt\u2019s another instance of progressive enhancement \u2013 as we know certain pieces of information, we can enhance the experience. Also, if you do change content, how can you not make a more cumbersome experience for your visitors?\n\nIt\u2019s all about communication\n\nContent is at the core of what we do, but if we consider context we need to understand the impact on that. The effect could be as subtle as an altered hierarchy, involve swapping out panels of content, or in extreme instances perhaps all of your content might change. In some ways, this extends the notion of adaptive content that Karen McGrane has been talking about, to how we write and store the content we create. Thinking about the the impact of context may require us to re-evaluate our site structure, too. Whatever we decide, we have to be clear what will happen and manage the expectations of our users.\n\nThe bottom line\n\nWhat I\u2019m proposing isn\u2019t that we go crazy and end up with a confused, disjointed set of experiences across the web. What I hope is that starting right from the beginning of a project, we think about what context is and could be, and see what relevance it might have to what we\u2019re trying to communicate. This strategic process leads us to think about design.\n\nWe are slowly adapting to what it means to be flexible through responsive and adaptive processes. What does thinking about contextual states mean to us (or designing for state in general)? Does this highlight again how difficult it\u2019ll be for our tools to keep up with our processes and output?\n\nIn terms of code, the vast majority of this data comes from the client-side through JavaScript. While we can progressively enhance, this could lead to a lot of code bloat through feature or capability detection, and potentially a lot of conditional loading of scripts. It\u2019s a real shame we don\u2019t get much we can rely on from the server-side \u2013 we know how unreliable user agents are!\n\nWe need to understand why we\u2019d do this. Are we trying to communicate well and be useful, or doing it to show off? Underneath it all, what do we base our decisions on? Do we have actual insight or are we proceeding from our assumptions and the bias of our own experiences? Scott Jenson summed it up best for me: (to paraphrase) the pain we put people through has to be greatly outweighed by the value we offer.\n\nI see that this could be another potential step in our evolution on the web; continuing this exploration of the flexibility the web allows us. It\u2019s amazing we can do such incredible things from what is essentially a set of disparate, linked documents.", "year": "2012", "author": "Dan Donald", "author_slug": "dandonald", "published": "2012-12-09T00:00:00+00:00", "url": "https://24ways.org/2012/should-we-be-reactive/", "topic": "design"}
{"rowid": 85, "title": "Starting Your Project on the Right Foot (and Keeping It There)", "contents": "I\u2019m not sure if anything is as terrifying as beginning a new design project. I often spend hours trying to find the best initial footing in a design, so I\u2019ve been working hard to improve my process, particularly for the earliest stages of a project. I want\u00a0to smooth out the bumps that disrupt my creative momentum and focus on the emotional highs and lows I experience, and then try to minimize the lows and ride the highs as long as possible. \n\nDesign is often a struggle broken up by blissful moments of creative clarity that provide valuable force to move your work forward. Momentum is a powerful tool in creative work, and it\u2019s something we don\u2019t always maximize when we\u2019re working because of the hectic nature of our field.\u00a0Obviously, every designer is going to have a different process, but I thought I\u2019d share some of the methods I\u2019ve begun to adopt. I hope this will spark a conversation among designers who are interested in looking at process in a new way.\n\nJump-starting a project\n\nI cannot overstate the importance of immersing yourself in design and collecting ample amounts of inspiration when beginning a project. I make it a daily practice to visit a handful of sites (Dribbble, Graphic Exchange, Web Creme, siteInspire, Designspiration, and others) and save any examples of design that I like. I then sort them into general categories (publication design, illustration, typography, web design, and so on). Enjoying a bit of fresh design every day helps me absorb it and analyze why it\u2019s effective instead of just imitating it.\u00a0\n\nMany designers are afraid to look at too much design for fear that they\u2019ll be tempted to copy it, but I feel a steady influx of design inspiration reduces that possibility. You\u2019re much more likely to take the easy way out and rip off a design if you\u2019re scrambling for inspiration after getting stuck. If you are immersed in design from a variety of mediums, you\u2019ll engage your creative brain on multiple levels and have an easier time creating something unique for your project. Looking at good design will not make you a good designer but it will make you a better designer.\n\nDesign is design\n\nTry not to limit your visual research to the medium you\u2019re working in. Websites, books, posters and packaging all have their own unique limitations and challenges, and any one of those characteristics could be useful to you. Posters need to grab the viewer and pass on a small tidbit of information; packaging needs to encourage physical interaction; and websites need to encourage exploration. If you know the challenges you\u2019ll be facing, you will know where to look for design that tackles those same problems.\n\nI find it refreshing to look at design from the turn of the nineteenth century, when type was laid out on objects without thought to aesthetics. Many vintage packages break all sorts of modern design rules, and looking at that kind of work is a great way to spark your creativity. Pulling yourself out of the box and away from the rules of what you\u2019re working on can reveal solutions that are innovative and unique.\u00a0After a little finessing, the warning label text from a 1940s hazardous chemical box from could have the exact type and icon arrangement you need for your project.\u00a0There\u2019s a massive pool of design to pull from that doesn\u2019t have the limitations the web has, and exploring those design worlds will help you grow your own repertoire.\n\nIf all else fails, start with the footer\n\nThe very beginning of a project is the most frustrating point in a project for me. I\u2019m trying to figure out typeface combinations, colors and the overall voice of the design, and until I find the right solutions, I\u2019m a wreck. I\u2019ve found often that my frustration stems from trying to solve too many problems at once. The beginning of a project has a lot of moving targets, nearly endless possible solutions, and constantly changing variables. You\u2019ll knock out one problem only to discover your solution doesn\u2019t jive with something you worked out earlier \u2014 you end up designing in circles.\n\nIf you find yourself getting stuck at the beginning of a website design, try working out one specific element of the site and see what emerges. I\u2019m going to recommend the footer. Why? Footers can easily be ignored in a design or become a dumping ground for items that couldn\u2019t be worked into the main layout. But, at the start of most projects, the minimum content requirements for the footer are usually established. There needs to be a certain number of links, social media buttons, copyright details, a search bar, and so on. It\u2019s a self-contained item within the design that has a specific purpose, and that\u2019s a great element to focus on when you\u2019re stuck in a design. Colors, typefaces, link styles, input fields and buttons can all be sketched out from just the footer. It\u2019s a very flexible element that can be as prominent or subtle as you want, and it\u2019s a solid starting point for setting the tone and style of a site.\n\nSave the details\n\nDesigners love details. I love details. But don\u2019t let nitpicking early on in your process kill your creative momentum.\u00a0Design is an emotional process, and being frustrated or defeated by a tricky problem or a graphical detail you just can\u2019t nail down can deflate your creative energies. If you hit a roadblock, set it aside and tackle another piece of the project. As you spend time engaged in a design, the style you develop will evolve according to the needs of the content, and you might arrive naturally at a solution that will work perfectly for the problem that had you stuck before.\u00a0\n\nIf I find myself working on one particular element for more than a half an hour without any clear movement, I shelve it. Designers often wear their obsessive detail-oriented tendencies as a badge of honor, but there\u2019s a difference between making the design better and wasting time. If you\u2019ve spent hours nudging elements around pixel by pixel and can\u2019t settle on something, it probably means what you\u2019re doing isn\u2019t making a huge improvement on the design. Don\u2019t be afraid to let it lie and come at it again with fresh eyes. You will be better equipped to tackle the finer points of a project once you\u2019ve got the broad strokes defined.\n\nHave a plan when you start and stop designing\n\nWe all know that creativity isn\u2019t something you can turn on effortlessly, and it\u2019s easy to forget the emotional process that goes along with design.\u00a0If you leave a project in a place of frustration, it\u2019s going to stay with you in your free time and affect you negatively, like a dark cloud of impending disaster. Try to end each design session with a victory, a small bit of definable progress that you can take with you in your downtime. Even something as small as finding the right opacity for the interior shadow on the search bar in the header of the site is a win.\u00a0Likewise, when you return to a project after a break, it can be difficult to get the ball rolling on the design again if you set it down without a clear path for the next steps. I find that I work on details best when I\u2019m returning from downtime, when I\u2019m fresh and re-energized and ready to dig in again. Try to pick out at least one element you\u2019d like to fine-tune when you are winding down in a design session and use it to kick-start your next session.\n\nContent is king\n\nI would argue there is nothing more crucial to the success of a design than having the content defined from the outset.\u00a0Designing without content is similar to designing without an audience, and designing with vague ideas of content types and character limits is going to result in a muted design that doesn\u2019t reach its full potential. Images and language go hand in hand with design, and can take a design from functional to outstanding if you have them available from the outset. We don\u2019t always have the luxury of having content to build a design around, but fight for it whenever you can. For example, if the site you are designing is full of technical jargon, your paragraphs might need a longer line length to accommodate the longer words being used.\u00a0\n\nOften, working with content will lead to design solutions you wouldn\u2019t have come to otherwise.\u00a0Design speaks to content, and content speaks to design. Lorem ipsum doesn\u2019t speak to anyone (unless you know Latin, in which case, congratulations!).\n\nEvery project has its own set of needs, and every designer has his or her own method of working. There\u2019s obviously no perfect process to design, and being dogmatic about process can be just as harmful as not having one. Exposing yourself to new design and new ways of designing is an easy way to test your skills and grow. When things are hard and you can\u2019t get any momentum going on a design, this is when your skill set is truly challenged. We all hope to get wonderful projects with great assets and ample creative possibilities, but you won\u2019t always be so blessed, and this is when the quality of your process is really going to shine.", "year": "2012", "author": "Bethany Heck", "author_slug": "bethanyheck", "published": "2012-12-02T00:00:00+00:00", "url": "https://24ways.org/2012/starting-your-project-on-the-right-foot/", "topic": "process"}
{"rowid": 88, "title": "Think First, Code Later", "contents": "This is a story that\u2019s best told from the end, and it\u2019s probably one you\u2019re all familiar with.\n\nYou, or someone just like you, have been building a website, probably as part of a skilled and capable team. You\u2019re a front-end developer, focusing on JavaScript \u2013 it\u2019s either your sole responsibility or shared around. It\u2019s quite a big job, been going on for months, and at last it feels like you\u2019re reaching the end of it.\n\nBut, in a brief moment of downtime, you step back and take a look at the code as a whole. You notice that the folder called \u201cjQuery plugins\u201d suddenly looks rather full, and maybe there\u2019s evidence of several methods of doing the same thing; there are loads of little niggly fixes in the bug tracker; and every place you use Ajax the structure of the data is slightly different. You sigh, and your shoulders droop slightly, and you think \u201cYeah, we\u2019ll do that more cleanly next time.\u201d\n\nThe thing is, you probably already know how to rewrite the start of this story to make the ending work better. This situation is not really anyone\u2019s fault \u2013 it\u2019s just an accumulation of all the things you decided along the way, all the things you agreed you\u2019d fix later that have disappeared into the black hole of technical debt, and accomodating all the \u201ccan we just\u2026?\u201d requests from around the team and the client.\n\nSo, the solution to this is easy, right? More interminable planning meetings, more tightly controlled and documented specifications, less freedom to innovate, to try out new ideas and enjoy what you\u2019re doing.\n\nWait, that sounds even less fun than the old way.\n\nMinimum viable planning\n\nActually, planning and specifications are exactly what you need, but the way you go about them can make a real difference, both to the quality of your code, and the quality of your life as a developer. It can be as simple as being a little more thoughtful before starting on any new piece of functionality. Involve your whole team if possible, or at least those working on what you\u2019re doing. Canvass opinions and work out what the solution to the problem might look like first, rather than coding speculatively to find out.\n\nThere are easy ways you can get into this habit of putting the thought and design up front, and it doesn\u2019t have to mean spending more time on the project as a whole. It also doesn\u2019t have to result in reams of functional specifications. Instead, let the code itself form the specification.\n\nAs JavaScript applications become more complex, unit testing is becoming ever more important. So embrace it, whether you prefer QUnit, or Mocha, or any of the other JavaScript testing frameworks out there. The TDD (or test-driven development) pattern is all about writing the tests first and then writing functional code to pass those tests; or, if you prefer, code that meets the specification given by the tests.\n\nSounds like a hassle at first, but once you get into the rhythm of it you should find that the time spent writing tests up front is no greater, and often significantly less, than the time you would have spent fixing bugs afterwards.\n\nIf what you\u2019re working on requires an API between client and server (usually Ajax but this can apply to any method of sending or receiving data) then spend a bit of time with the back-end developer to design the data contracts, before either of you cut any code. Work out what the API endpoints are going to be, and what the data structure you\u2019ll get back from a certain endpoint looks like. A mock JSON object documented on a wiki is enough and it can be atomic. Don\u2019t worry about planning the entire project at once, just plan enough to get on with your current tasks.\n\nDefinition in this way doesn\u2019t have to make your API immutable \u2013 change is still fine \u2013 but if you know roughly where you\u2019re heading, then not only can your team\u2019s efforts become more parallel, but you\u2019re far more likely to have an easier time making it all work. And again, you have a specification \u2013 the shape of the data \u2013 to write your JavaScript against.\n\nPutting everything together, you end up with a logical flow of development, from the specification agreed with the client (your backlog), to the specification agreed with your team (the API contract design), to the specification agreed with your code (your unit tests). Hopefully, there will be ample clues in all of this to inform your front-end library choices, because by then you should have a better picture of what you\u2019re going to need.\n\nWhat the framework?\n\nAs a JavaScript developer predominantly, these are the choices I\u2019m particularly interested in \u2013 how and why you use JavaScript libraries and frameworks, both what you expect from them and what you actually get.\n\nIf we look back at how web development, and specifically JavaScript development has progressed \u2013 from the earliest days of using lines and lines of Dreamweaver code-barf to make an image rollover effect, to today\u2019s large frameworks that handle working with the DOM, Ajax communication and visual effects all in one hit \u2013 the purpose of it is clear: to smooth over the inconsistent bumps between browsers and give a solid, reliable, predictable base on which to put our desired functionality.\n\nUnderstanding what we expect the language as a specification to do, and matching that to what we observe browsers actually doing, and then smoothing out the differences, is a big job. Since the language and the implementations are also changing as we go along, it also feels like a never-ending job. So make full use of this valuable effort. Use jQuery or YUI or anything else you\u2019re comfortable with, but it still pays to think early on about what you need your library to do and what the best choice is to meet that need.\n\nI\u2019ve come in to projects as a fixer and found, to take a recent example, that jQuery UI was being used just to provide a date picker and a modal effect. That\u2019s a lot of code weight to provide two fairly simple pieces of functionality that could easily be covered by smaller plugins. Which isn\u2019t to say that jQuery UI itself is a bad choice, but I could see that it had been included late on just to do those things, whereas a more considered approach would have been to put the library in early and use it more universally.\n\nThere are other choices, too. If you automatically throw in jQuery (or whatever your favourite main library is) to a small site with limited functionality, you might only touch a tiny fraction of its scope. In my own development I started looking at what I actually needed from a JavaScript library. For a simple project like What the Framework?, all jQuery needed to do was listen for .ready() and then perform some light DOM selection before handing over to a client-side MVC framework. So perhaps there was another way to go about this while still avoiding the cross-browser headaches.\n\nDeleting jQuery\n\nBut the jQuery pattern is compelling and familiar. And once you\u2019re comfortable with something, it\u2019s a bit of an effort to force yourself out of that comfort zone and learn. But looking back at my whole career, I realised that I\u2019ve relearned pretty much everything I do, probably several times, since I started out. So it\u2019s worth keeping in mind that learning and trying new things is how development has advanced to where it is now, and how it will keep advancing in the future.\n\nIn the end this lead me to Ender, which is billed as an NPM-style package manager for the browser, letting you search for and manage small, loosely coupled modules and their dependencies, and compile them to one file with a common API.\n\nFor What the Framework I ended up with a set of DOM tools, Underscore and Knockout, all minified into 25kb of JavaScript. This compares really well with 32kb minified for jQuery on its own, and Ender\u2019s use of the dollar variable and the jQuery-like syntax in many modules makes switching over a low-friction experience.\n\nOn more complex projects, where you\u2019re really going to use all the features of something like jQuery, but want to minimise the loading of other dependencies when you don\u2019t need them, I\u2019ve recently started looking at Jam. This uses the RequireJS pattern to compile commonly used code into a library file and then manage dependencies and bring in others on a per-page basis depending on how you need it. Again, it all comes down to thinking about what you need and using it only when you need it. And the configurability of tools like Ender or Jam allow you to be responsive to changing requirements as your project grows.\n\nThere is no right answer\n\nThat\u2019s not to say this way of working automatically makes things easier. It doesn\u2019t. On a large, long-running project or one where future functionality is unknown, it\u2019s still hard to predict and plan for everything \u2013 at least until crystal balls as a service come about. But by including strong engineering practices in your front-end, and trying to minimise technical debt, you\u2019re at least giving yourself a decent safety net to guard against the \u201ccan we just\u2026?\u201d tendencies that are a fact of life.\n\nSo, really, this is not an advocation of using a particular technology or framework, because I can\u2019t tell you what works for you or your team. But what I can tell you is that working this way round has done wonders for my productivity and enthusiasm, both for code quality and for trying out new libraries. Give it a go, you might like it!", "year": "2012", "author": "Stephen Fulljames", "author_slug": "stephenfulljames", "published": "2012-12-07T00:00:00+00:00", "url": "https://24ways.org/2012/think-first-code-later/", "topic": "process"}
{"rowid": 96, "title": "Unwrapping the Wii U Browser", "contents": "The Wii U was released on 18 November 2012 in the US, and 30 November in the UK. It\u2019s the first eighth generation home console, the first mainstream second-screen device, and it has some really impressive browser specs.\n\nConsoles are not just for games now: they\u2019re marketed as complete entertainment solutions. Internet connectivity and browser functionality have gone from a nice-to-have feature in game consoles to a selling point. In Nintendo\u2019s case, they see it as a challenge to design an experience that\u2019s better than browsing on a desktop.\n\n\n\tLet\u2019s make a browser that users can use on a daily basis, something that can really handle everything we\u2019ve come to expect from a browser and do it more naturally.\nSasaki \u2013 Iwata Asks on Nintendo.com\n\n\nWith 11% of people using console browsers to visit websites, it\u2019s important to consider these devices right from the start of projects. Browsing the web on a TV or handheld console is a very different experience to browsing on a desktop or a mobile phone, and has many usability implications.\n\nConsole browser testing\n\nWhen I\u2019m testing a console browser, one of the first things I do is run Niels Leenheer\u2019s HTML5 test and Lea Verou\u2019s CSS3 test. I use these benchmarks as a rough comparison of the standards each browser supports.\n\nIn October, IE9 came out for the Xbox 360, scoring 120/500 in the HTML5 test and 32% in the CSS3 test. The PS Vita also had an update to its browser in recent weeks, jumping from 58/500 to 243/500 in the HTML5 test, and 32% to 55% in the CSS3 test. Manufacturers have been stepping up their game, trying to make their browsing experiences better.\n\nTo give you an idea of how the Wii U currently compares to other devices, here are the test results of the other TV consoles I\u2019ve tested. I\u2019ve written more in-depth notes on TV and portable console browsers separately.\n\n\nYear of releaseHTML5 scoreCSS3 scoreNotes\nWii U2012258/50048%Runs a Netfront browser (WebKit).\nWii200689/500Wouldn\u2019t runRuns an Opera browser.\nPS3200668/50038%Runs a Netfront browser (WebKit).\nXbox 3602005120/50032%A browser for the Xbox (IE9) was only recently released in October 2012. The Kinect provides voice and gesture support. There\u2019s also SmartGlass, a second-screen app for platforms including Android and iOS.\n\n\nThe Wii U browser is Nintendo\u2019s fifth attempt at a console browser. Based on these tests, it\u2019s already looking promising.\n\nWhy console browsers used to suck\n\nIt takes a lot of system memory to run a good browser, and the problem of older consoles is that they don\u2019t have much memory available. The original Nintendo DS needs a memory expansion pack just to run the browser, because the 4MB it has on board isn\u2019t enough. I noticed that even on newer devices, some sites fail to load because the system runs out of memory.\n\nThe Wii came out six years ago with an Opera browser. Still being used today and with such low resources available, the latest browser features can\u2019t reasonably be supported. There\u2019s also pressure to add features such as tabs, and enable gamers to use the browser while a game is paused. Nintendo\u2019s browser team have the advantage of higher specs to play with on their new console (1GB of memory dedicated to games, 1GB for the system), which makes it easier to support the latest standards. But it\u2019s still a challenge to fit everything in.\n\n\n\t\u2026even though we have more memory, the amount of memory we can use for the browser is limited compared to a PC, so we\u2019ve worked in ways that efficiently allocates the available memory per tab. To work on this, the experience working on the browser for the Nintendo 3DS system under a limited memory constraint helped us greatly.\nSasaki \u2013 Iwata Asks on Nintendo.com\n\n\nIn the box\n\nThe Wii U consists of a console unit which plugs into a TV (the first to support HD), and a wireless controller known as a gamepad. The gamepad is a lot bigger than typical TV console controllers, and it has a touchscreen on the front. The touchscreen is resistive, responding to pressure rather than electrical current. It\u2019s intended to be used with a stylus (provided) but fingers can be used.\n\nIt might look a bit like one, but the gamepad isn\u2019t a portable console designed to be taken out like the PS Vita. The gamepad can be used as a standalone screen with the TV switched off, as long as it\u2019s within range of the console unit \u2013 it basically piggybacks off it.\n\n\n\nIt\u2019s surprisingly lightweight for its size. It has a wealth of detectors including 9-axis control. Sensors wake the device from sleep when it\u2019s picked up. There\u2019s also a camera on the front, and a headphone port and speakers, with audio coming through both the TV and the gamepad giving a surround sound feel.\n\nUp to six tabs can be opened at once, and the browser can be used while games are paused. There\u2019s a really nice little feature here \u2013 the current game\u2019s name is saved as a search option, so it\u2019s really quick to look up contextual content such as walk-throughs.\n\nControls\n\nOnly one gamepad can be used to control the browser, but if there are Wiimotes connected, they can be used as pointers. This doesn\u2019t let the user do anything except point (they each get a little hand icon with a number on it displayed on the screen), but it\u2019s interesting that multiple people can be interacting with a site at once.\n\n\n\nSee a bigger version\n\nThe gamepad can also be used as a simple TV remote control, with basic functions such as bringing up the programme guide, adjusting volume and changing channel. I found the simplified interface much more usable than a full-featured remote control.\n\n\n\nI\u2019m used to scrolling being sluggish on consoles, but the Wii U feels almost as snappy as a desktop browser. Sites load considerably faster compared with others I\u2019ve tested.\n\nTilt-scroll\n\nHolding down ZL and ZR while tilting the screen activates an Instapaper-style tilt to scroll for going up and down the page quickly, useful for navigating very long pages.\n\nSecond screen\n\nThe TV mirrors most of what\u2019s on the gamepad, although the TV screen just displays the contents of the browser window, while the gamepad displays the site along with the browser toolbar.\n\nWhen the user with the gamepad is typing, the keyboard is hidden from the TV screen \u2013 there\u2019s just a bit of text at the top indicating what\u2019s happening on the gamepad.\n\nPressing X draws an on-screen curtain over the TV, hiding the content that\u2019s on the gamepad from the TV. Pressing X again opens the curtains, revealing what\u2019s on the gamepad. Holding the button down plays a drumroll before it\u2019s released and the curtains are opened. I can imagine this being used in meetings as a fun presentation tool.\n\n\n\n\n\tIn a sense, browsing is a personal activity, but you get the idea that people will be coming and going through the room. When I first saw the curtain function, it made a huge impression on me. I walked around with it all over the company saying, \u201cThey\u2019ve really come up with something amazing!\u201d\nIwata \u2013 Iwata Asks on Nintendo.com\n\n\nText\n\nWriting text\n\nUnlike the capacitive screens on smartphones, the Wii U\u2019s resistive screen needs to be pressed harder than you\u2019re probably used to for registering a touch event. The gamepad screen is big, which makes it much easier to type on this device than other handheld consoles, even without the stylus. It\u2019s still more fiddly than a full-sized keyboard though. When you\u2019re designing forms, consider the extra difficulty console users experience.\n\n\n\nAlthough TV screens are physically big, they are typically viewed from further away than desktop screens. This makes readability an issue, so Nintendo have provided not one, but four ways to zoom in and out:\n\n\n\tDouble-tapping on the screen.\n\tTapping the on-screen zoom icons in the browser toolbar.\n\tPressing the + and - buttons on the device.\n\tMoving the right analogue stick up and down.\n\n\nAs well as making it easy to zoom in and out, Nintendo have done a few other things to improve the reading experience on the TV.\n\nSystem font\n\nOne thing you\u2019ll notice pretty quickly is that the browser lacks all the fonts we\u2019re used to falling back to. Serif fonts are replaced with the system\u2019s sans-serif font. I couldn\u2019t get Typekit\u2019s font loading method to work but Fontdeck, which works slightly differently, does display custom fonts.\n\n The system font has been optimised for reading at a distance and is easy to distinguish because the lowercase e has a quirky little tilt.\n\nDon\u2019t lose :focus\n\nUsing the D-pad to navigate is similar to using a keyboard. Individual links are focused on, with a blue outline drawn around them.\n\nThe recently redesigned An Event Apart site is an example that improves the experience for keyboard and D-pad users. They\u2019ve added a yellow background colour to links on focus. It feels nicer than the default blue outline on its own.\n\n\n\nMedia\n\nThis year, television overtook PCs as the primary way to watch online video content. TV is the natural environment for video, and 42% of online TVs in the US are connected to the internet via a console. Unfortunately, the <video> tag isn\u2019t supported in most console browsers, and those that have Flash installed often have such an old version that the video won\u2019t play.\n\nI suspect this has been a big driver in getting console browsers to support web standards. The Wii U is designed with video content in mind. It doesn\u2019t support Flash but it does support the HTML5 <video> tag.\n\nSome video formats can\u2019t be played, but those that are supported bring up an optimised interface with a custom scrub bar. This is where the device switches from mirroring the TV to being a second screen. The full-screen video is displayed on the TV, and the interface on the gamepad.\n\nThe really clever bit is that while a video is playing, the gamepad user can keep the video playing on the TV screen while searching for another video or browsing the web. This is the same for images too.\n\nOn the left, the video is being shown full-screen on the TV and gamepad. Only the gamepad gets the scrub bar. Clicking the slide up/down button (circled) lets the gamepad user browse the web while the video on the TV continues to play full-screen, as shown in the image on the right.\n\nThere\u2019s support for SVG images, and they look great on a high-definition TV screen. However, there\u2019s currently no way to save or download files.\n\nPreparing for console users\n\nI wasn\u2019t expecting to be quite as impressed as I am by this browser. It\u2019s encouraging to see console makers investing time into improving the experience as well as the standards support. In the same way there was an explosion in mobile browser use as the experience got better, I\u2019m sure we\u2019ll see the same with console browsers as the experience improves.\n\nThe value of detection\n\nConsoles offer a range of inputs including gesture, voice and controller buttons. That means we have to think about more diverse methods of input than just touch and click.\n\nThis is where I could tell you to add some detection methods such as user agent string sniffing to target a different experience for console users. But the majority of the time, that really isn\u2019t necessary. TV console browsers are getting a lot better at compensating for the living room environment, and they\u2019re designed to work with websites that haven\u2019t been optimised for this context.\n\nRather than tighten our grip on optimising experiences for every device out there, we\u2019ve got to be pragmatic. There are so many new devices coming out every week, our designs need to be future-proof rather than fixed to a particular device in time.\n\nEven fuzzy device detection isn\u2019t reliable \u2013 the PS Vita declares itself to be mobile, a mobile device and a Kindle Fire tablet, while the two DS devices state they\u2019re neither mobile nor mobile phones nor tablets, but computers. They\u2019re weird outliers, but they\u2019re still important devices to consider.\n\nThinking broadly about how our designs will be interacted with and viewed on a TV screen can help improve that experience for everyone. This is about accessibility. Considering how someone uses a site with a D-pad, we can improve the experience for keyboard users. When we think about colour contrast and text legibility on TV screens, we can apply that for anyone who reads content on the web. So why just offer this to the TV users?\n\nPlaying with the browser\n\n\n\t\u2026we want to prove to them through this Wii U Internet Browser that browsing itself can be an entertainment.\nIwata \u2013 Iwata Asks on Nintendo.com\n\n\nAlthough I\u2019m cautious about designing experiences for specific devices, it\u2019s fun to experiment with the technology available. Nintendo have promised web developers access to the Wii U\u2019s buttons and sensors. There\u2019s already some JavaScript documentation, and a demo for you to try.\n\nIf you\u2019re interested in making your own games, thanks to web standards, a lot of HTML5 games work already on the device. Matt Hackett wrote up his experience of testing the game he built, and he talks about some of features the browser lacks. There\u2019s certainly an incentive there for console manufacturers to improve their HTML5 support so more games can be played in their browser.\n\nWhat excites me about consoles is that it\u2019s like looking at what might be available to us in future browsers. As well as thinking about how our sites work on small screens, we should also consider big screens. We\u2019re already figuring out how images should work at different screen widths and connection speeds, but we\u2019ve also got some interesting challenges ahead of us catering for second screen experiences and 3D-enabled devices. \n\nSo, this Christmas, if you\u2019re huddled round the game console or a smart TV, give the browser in it a try.", "year": "2012", "author": "Anna Debenham", "author_slug": "annadebenham", "published": "2012-12-22T00:00:00+00:00", "url": "https://24ways.org/2012/unwrapping-the-wii-u-browser/", "topic": "ux"}
{"rowid": 94, "title": "Using Questionnaires for Design Research", "contents": "How do you ask the right questions? \n\nIn this article, I share a bunch of tips and practical advice on how to write and use your own surveys for design research.\n\nI\u2019m an audience researcher \u2013 I\u2019m not a designer or developer. I\u2019ve spent much of the last thirteen years working with audience data both in creative agencies and on the client-side. I\u2019m also a member of the Market Research Society. I run user surveys and undertake user research for our clients at the design studio I run with my husband \u2013 Mark Boulton Design.\n\nSo let\u2019s get started!\n\nWho are you designing for?\n\nGood web designers and developers appreciate the importance of understanding the audience they are designing or building a website or app for. I\u2019m assuming that because you are reading a quality publication like 24 ways that you fall into this category, and so I won\u2019t begin this article with a lecture.\n\nSuffice it to say, it\u2019s a good idea to involve research of some sort during the life cycle of every project you undertake. I don\u2019t just mean visual or competitor research, which of course is also very important. I mean looking at or finding your own audience or user data. Whether that be auditing existing data or research available from the client, carrying out user interviews, A/B testing, or conducting a simple questionnaire with users, any research is better than none. If you create personas as a design tool, they should always be based on research, so you will need to have plenty of data to hand for that.\n\nWhere do I start?\n\nIn the initial kick-off stages of a project, it\u2019s a good idea to start by asking your client (when working in-house you still have a client \u2013 you might even be the client) what research or audience data they have available. Some will have loads \u2013 analytics, surveys, focus groups and insights \u2013 from talking to customers. Some won\u2019t have much at all and you\u2019ll be hard pressed to find out much about the audience. It\u2019s best to review existing research first without rushing headlong into doing new research. Get a picture of what the data tells you and perhaps get this into a document \u2013 who, what, why and how are they using this website or app? What gaps are there in existing research? What else do you need to know? Then you can decide what else you need to do to plug these gaps. Think about the information first before deciding on the methodology. The rest of my article talks mostly about running self-completion online surveys. You can of course do face-to-face surveys, self-completion written questionnaires or phone polls, but I won\u2019t cover those here. That\u2019s for another article.\n\nWhy run a survey?\n\nSurveys are great for getting a broad picture of your audience. As long as they are designed carefully, you can create an overview of them, how they use the site and their opinions of it, with an idea of which parts of this picture are more important than others. By using a limited amount of open-ended questions, you can also get some more qualitative feedback or insights on your website or app. The clients we work with surprisingly often don\u2019t have much in the way of audience research available, even basic analytics, so I will often suggest running a short survey, just to create a picture of who is out there.\n\nOK, what should I do first?\n\nBefore you rush into writing questions, stop and think about what you\u2019re trying to find out. Remember being in school when you studied science and you had to propose a hypothesis? This could be a starting point \u2013 something to prove or disprove. Or, even better, write a research brief. It doesn\u2019t have to be long; it can be just a sentence that encapsulates what you\u2019re trying to do, like a good creative brief. For the purposes of this article, I created a short, slightly silly survey on Christmas and beliefs in Father Christmas.\n\nMy research brief was:\n\n\n\tTo find out more about people\u2019s beliefs about Father Christmas and their experiences of Christmas.\n\n\nInevitably, as you start thinking of what questions to ask, you will find that you go off at tangents or your client will want you to add in everything but the kitchen sink. In order for your questionnaire not to get too long and lose focus, you could write lists of what it is and what it\u2019s not. This is how I\u2019d apply it to my Christmas questionnaire example:\n\nWhat it is about\n\n\n\tHow people communicate with Father Christmas\n\tIf someone\u2019s background has affected their likelihood of believing in Father Christmas\n\n\nWhat it is not about\n\n\n\tWhat colour to change Father Christmas\u2019s coat to\n\tFather Christmas\u2019s elves\n\n\nLet\u2019s get down to business: the questions. \n\nKinds of questions\n\nThere are two basic kinds of questions: open-ended and closed. Closed questions limit answers by giving the respondent a number of predefined lists of options to choose from. Typically, these are multiple-choice questions with a list of responses. You can either select one or tick all that apply. Another useful type of closed question I often use is a rating scale, where a respondent can assess a situation along a continuum of values. These can also be useful as a measure of advocacy or strength of feeling about something. There is a standard measure called the Net Promoter score, which measures how likely someone is to recommend your product or service to a friend or acquaintance. It\u2019s a useful benchmark as you can compare your scores to others in a similar sector.\n\n\n\nOpen-ended questions often take the form of a statement which requires a response. Generally, respondents are given a text box to fill in. It\u2019s useful to limit this in some way so that people have an idea of how long the expected response should be; for example, a single line for an email address (Q18), or a larger text area for a longer response (Q6).\n\nIf you plan to send your survey out to a large number of people, I would suggest using mostly closed questions, unless you want to spend a long time wading through comments and hand-coded responses. I\u2019d always advise adding a general request at the end of a survey (\u2018Is there anything else you\u2019d like to tell us?\u2019). You\u2019d be surprised how many interesting and insightful comments people will add.\n\nThere are times when it\u2019s better to provide an open-ended text box rather than a predefined list makes assumptions about your audience\u2019s groupings. For example, we ran a short survey for our Gridset beta testers and rather than assume we knew who they were, we decided to ask an open-ended question: \u201cWhat is your current job title?\u201d\n\n\n\nThe analysis took quite a bit longer than responses using a predefined list, but it meant that we were able to make sure we didn\u2019t miss anyone. And next time we run a survey for Gridset, I can use the responses gathered from this survey to help create a predefined list to make analysis easier.\n\nWhat to ask\n\nThe questions to ask depend on what you want to know, but your brief and lists of what the survey is and isn\u2019t should help here. I always ask the design team and client to give me ideas of what they are interested in finding out, and combine this with a mix of new and standard questions I have used in other surveys. I find Survey Monkey\u2019s question bank a very useful source of example questions and help with tricky wording.\n\nI always include simple demographics so I can compare my results to the population at large or internet users as a whole \u2013 just going on age, gender and location can be quite illuminating. For example, with the Christmas survey, I can see that the respondents were typical of the online design and dev community, mainly young and male.\n\nIf appropriate, I add questions on disability, ethnic background, religion and community of interest. Questions about ethnicity, religion, sexual preference, disability and other sensitive subjects can feel awkward and difficult to ask. This is not a good reason to not ask them. Perhaps you\u2019re working for a public sector client, like a local council, so it\u2019s likely you will need to consider groups of people who maybe under-represented, who may have differing views to others, or who you need to look at specifically as a subset.\n\nHow to ask\n\nAlthough they may seem clunky and wordy, it\u2019s often best to use the census wording or professional body wording for such demographic questions. For example, I used the UK census 2011 wording for Wales on my Christmas questionnaire in my questions on religion [PDF] (Q16) and ethnicity [PDF] (Q17). I had to adapt them slightly for the Survey Monkey format \u2013 self-completion online, rather than pen and paper \u2013 which is why \u201cWhite Welsh\u201d came up as the first option for the ethnicity question. For similar questions for US audiences, try the Census Bureau website.\n\nWhen conducting a survey for a project that has a global audience, you need to consider who your primary audience is. For example, I recently created a questionnaire for a global news website. A large proportion of its audience is based in the USA, so I was careful to word things in a way Americans would find familiar. I used the US ethnic background census question wording and options, and looked at data for US competitor news websites to decide which to include.\n\nYou should also consider people whose first language isn\u2019t English. Working as an audience researcher at BBC Wales, every survey we did was bilingual. I\u2019ve also recently run a user survey in Arabic using Google Forms. During this project, we found that while Survey Monkey supports different languages, including Arabic, the text ran left to right with no option to change it to right to left \u2013 an essential when it comes to reading Arabic! If research is a deliverable in a client project, and you know you\u2019ll need to conduct it in a foreign language, always build in extra time for translation at both the questionnaire design and analysis stages. Make sure you also allow for plenty of checks. In this case we had to change to Google Forms after initially creating our survey with Survey Monkey to get the functionality we needed.\n\nLook and feel\n\nThink about the survey as another way your audience will experience your brand. Take care getting the tone of voice right. There are plenty of great articles and books out there about tone of voice \u2013 try Letting Go of the Words by Ginny Redish for starters, or Brand Language by Liz Doig. The basic rule of thumb is to sound like a human, and use clear and friendly language. If, like me, you are lucky enough to work with journalists or copy editors, you should ask for their help, particularly in the preamble, linking text and closing statements. I find it helpful to break my questions down into sections and to have a page for each. I then have an introductory piece of text for each section to guide the respondent through the survey.\n\nYou should also make sure you check with your designers how your survey looks \u2013 use a company logo and branding, and make the typography legible. Many survey apps like Survey Monkey and Google Forms have a progress bar. This is helpful for users to see how far through your survey they are. I generally time the survey and give an indication in the preamble: \u201cThis survey will only take five minutes of your time.\u201d\n\nYou also need to think about how you will technically serve the questionnaire. For example, will it be via email, social media, a pop-up or lightbox on your website, or (not recommended but possible) in an ad space?\n\nEthical considerations\n\nSomething else to think about are any local laws that govern how you collect and store data, such as the Data Protection Act in the UK. As a member of the Market Research Society, I am also obliged to consider its guidelines, but even if you\u2019re not, it\u2019s always a good idea to deal with personal data ethically.\n\nIf you collect personal data that can identify individuals, you must ask their permission to share it with others, and store it securely for no longer than two years. If you want to contact people afterwards, you must ask for their permission. If you ask for email addresses, as I did in question 18, you have a ready-made sample for a further survey, interviews or focus groups. Remember, you shouldn\u2019t survey people under sixteen years old without the permission of their parents or legal guardians, so if you know your website is likely to be used by children, you must ask for verification of age early on, and your survey should close someone answers that they are under sixteen. The ESOMAR guidelines for online research [PDF] are well worth reading, as they go into detail about such issues, as well as privacy guidelines \u2013 using cookies, storing IP addresses, and so on.\n\nTools\n\nUnless you work in-house and have proprietary software, or at a market research agency and you\u2019re using specialist software such as Snap or IBM SPSS Statistics (previously just SPSS), you will need to use a good tool to run your survey, collect your responses and, ideally, help with the analysis. I like Survey Monkey because of the question bank and analysis tools. The software graphs your results and does simple cross-tabbing and filtering. What this means is you can slice the data in more interesting ways and delve a bit deeper. For example, in the Gridset questionnaire I mentioned earlier, I cross-tabbed responses to questions against whether a person worked in-house, for an agency or as a freelancer. \n\nOther well known online tools that I also use from time to time are Wufoo and Google Forms. Smart Surveys is a similar service to Survey Monkey and it\u2019s used by many leading brands in the UK. Snap Surveys mentioned above is a well-established player in the market research scene, used a lot for face-to-face surveys and also on tablets and smartphones.\n\nAnalysis\n\nAnalysis is often overlooked but is as important as the design of the questionnaire. Don\u2019t just rely on looking at the summary report and charts generated as standard by your form or survey software. Spend time with your data. Spend at least a week now and then if you can, looking at the data. Keep coming back to it and tweaking or cutting it a different way to see if there are any different pictures. Slice it up in different ways to reveal new insights. Here is the data from my dummy survey (apart from the open-ended responses). \n\nFor open-ended questions, you can analyse collaboratively. Print and cut out the open-ended responses and do a cluster analysis or affinity sort with a colleague. \n\n\n\nDiscussing the comments helps you to understand them. You will also find the design team are more likely to buy into the research as they have uncovered the insights for themselves. Always make sure to treat open-ended responses sensitively and don\u2019t share anything publicly in a way that identifies the respondent.\n\nWrite a report\n\nNever hand over a dataset to your client without a summary of the findings. Data on its own can be skewed to suit the reader\u2019s needs, and not everyone is able to find the story in a dataset. Even if it\u2019s not a deliverable, it\u2019s always a good idea to capture your findings in a report of some sort. Use graphs sparingly to show really interesting things or to aid the reader\u2019s understanding. I have written a quick dummy report using the data from the Christmas questionnaire so you can see how it\u2019s done.\n\nI highly recommend Brian Suda\u2019s book A Practical Guide to Designing with Data for tips on how to present data effectively, but that\u2019s a subject that benefits a whole article (indeed book) in itself. \n\nI am not a designer. I am a researcher, so I never write design recommendations in a report unless they have been talked about or suggested by the designers I work with. More often, I write up the results and we talk about them and what impact they have on the project or design. Often they lead to more questions or further research.\n\nSo that\u2019s it: a brief introduction to using questionnaires for design research. Here\u2019s a quick summary to remind you what I have talked about, and a list of resources if you\u2019re interested in reading further.\n\nTop 10 things to remember when using questionnaires for design research:\n\n\n\tStart by auditing existing research to identify gaps in data.\n\tWrite a research brief. Work out exactly what you\u2019re trying to find out \u2013 what is the survey about, and what is it not about?\n\tThe two basic kinds of questions are open-ended and closed.\n\tClosed questions limit responses by giving the respondent a number of predefined lists of options to choose from (multiple choice, rating scales, and so on).\n\tOpen-ended questions are often in the form of a statement which requires a response. Always ask one at the end of a questionnaire.\n\tAlways include simple demographics to enable you to compare your sample against the population in general.\n\tIt\u2019s best to use official census or professional body wording for questions on ethnicity, disability and religion.\n\tBe sure to think carefully about your tone of voice and the look of your questionnaire.\n\tPay attention to guidelines and laws on storing personal data, cookies and privacy.\n\tInvest plenty of time in analysis and report writing. Don\u2019t just look at the obvious \u2013 dig deep for more interesting insights.\n\n\nSome useful resources for further study\n\nOnline research\n\n\n\tDesign Research: Methods and Perspectives edited by Brenda Laurel\n\tOnline Research Essentials by Brenda Russell and John Purcell\n\tHandbook of Online and Social Media Research by Ray Poynter\n\tESOMAR guidelines for online research [PDF]\n\tOnline questionnaires\n\n\nMarket research books on questionnaire design\n\n\n\tUsing Questionnaires in Small-Scale Research: A Beginner\u2019s Guide by Pamela Munn\n\tQuestionnaire Design by A N Oppenheim\n\tDeveloping a Questionnaire by Bill Gillham", "year": "2012", "author": "Emma Boulton", "author_slug": "emmaboulton", "published": "2012-12-14T00:00:00+00:00", "url": "https://24ways.org/2012/using-questionnaires-for-design-research/", "topic": "business"}
{"rowid": 23, "title": "Animating Vectors with SVG", "contents": "It is almost 2014 and fifteen years ago the W3C started to develop a web-based scalable vector graphics (SVG) format. As web technologies go, this one is pretty old and well entrenched. \n\nSee the Pen yJflC by Drew McLellan (@drewm) on CodePen\n\n\nEmbed not working on your device? Try direct. \n\nUnlike rasterized images, SVG files will stay crisp and sharp at any resolution. With high-DPI phones, tablets and monitors, all those rasterized icons are starting to look a bit old and blocky. There are several options to get simpler, decorative pieces to render smoothly and respond to various device widths, shapes and sizes. Symbol fonts are one option; the other is SVG.\n\nI\u2019m a big fan of SVG. SVG is an XML format, which means it is possible to write by hand or to script. The most common way to create an SVG file is through the use of various drawing applications like Illustrator, Inkscape or Sketch. All of them open and save the SVG format.\n\nBut, if SVG is so great, why doesn\u2019t it get more attention?\n\nThe simple answer is that for a long time it wasn\u2019t well supported, so no one touched the technology. SVG\u2019s adoption has always been hampered by browser support, but that\u2019s not the case any more. Every modern browser (at least three versions back) supports SVG. Even IE9. \n\nAlthough the browsers support SVG, it is implemented in many different ways.\n\nSVG in HTML\n\nSome browsers allow you to embed SVG right in the HTML: the <svg> element. Treating SVG as a first-class citizen works \u2014 sometimes. Another way to embed SVG is via the <img> element; using the src attribute, you can refer to an SVG file. Again, this only works sometimes and leaves you in a tight space if you need to have a fallback for older browsers. The most common solution is to use the <object> element, with the data attribute referencing the SVG file. When a browser does not support this, it falls back to the content inside the <object>. This could be a rasterized fallback <img>. This method gets you the best of both worlds: a nice vector image with an alternative rasterized image for browsers that don\u2019t support SVG. The downside is that you need to manage both formats, and some browsers will download both the SVG and the rasterized version, becoming a performance problem.\n\nAlexey Ten came up with a brilliant little trick that uses inline SVG combined with an SVG <image> element. This has an SVG href pointing to the vector SVG representation and a src attribute to the rasterized version. Older browsers will rewrite the <image> element as <img> and use the rasterized src attribute, but modern browsers will show the vector SVG.\n\n<svg width=\"96\" height=\"96\">\n    <image xlink:href=\"svg.svg\" src=\"svg.png\" width=\"96\" height=\"96\"/>\n</svg>\n\nIt is a great workaround for most situations. You will have to determine the browsers you want or need to support and consider performance issues to decide which method is best for you.\n\nSo it can be used in HTML. Why?\n\nThere are two compelling reasons why vector graphics in the form of icons and symbols are going to be important on the web. With higher resolution screens, going from 72dpi to 200, 300, even over 400dpi, your rasterized icons are looking a little too blocky. As we zoom and print, we expect the visuals on the site to also stay smooth and crisp.\n\nThe other main reason vector graphics are useful is scaling. As responsive websites become the norm, we need a way to dynamically readjust the heights, widths and styles of various elements. SVG handles this perfectly, since vectors remain smooth when changing size.\n\nSVG files are text-based, so they\u2019re small and can be gzipped nicely. There are also techniques for creating SVG sprites to further squeeze out performance gains. But SVG really shines when you begin to couple it with JavaScript. Since SVG elements are part of the DOM, they can be interacted with just like any other element you are used to.\n\nThe folks at Vox Media had an ingenious little trick with their SVG for a Playstation and Xbox One reviews. I\u2019ve used the same technique for the 24 ways example. Vox Media spent a lot of time creating SVG line art of the two consoles, but once in place the artwork scaled and resized beautifully. \n\nThey still had another trick up their sleeves. In their example, they knew each console was line art, so they used SVG\u2019s line dash property to simulate the lines being drawn by animating the growth of the line by small percentage increments until the lines were complete.\n\nThis is a great example of a situation where the alternatives wouldn\u2019t be as straightforward to implement. Using an animated GIF would create a heavy file since it would need to contain all the frames of the animation at a large size to permit scaling; even then, smooth aliasing would be lost. canvas and plenty of JavaScript would be another alternative, but this is a rasterized format. It would need be redrawn at each scale, which is certainly possible, but smoothness would be lost when zooming or printing.\n\nThe HTML, SVG and JavaScript for this example is less than 4KB! Let\u2019s have a quick look at the code:\n\n<script>\nvar current_frame = 0;\nvar total_frames = 60;\nvar path = new Array();\nvar length = new Array();\nfor(var i=0; i<4;i++){\n\tpath[i] = document.getElementById('i'+i);\n\tl = path[i].getTotalLength();\n\tlength[i] = l;\n\tpath[i].style.strokeDasharray = l + ' ' + l; \n\tpath[i].style.strokeDashoffset = l;\n}\nvar handle = 0;\n\nvar draw = function() {\n   var progress = current_frame/total_frames;\n   if (progress > 1) {\n     window.cancelAnimationFrame(handle);\n   } else {\n     current_frame++;\n     for(var j=0; j<path.length;j++){\n\t     path[j].style.strokeDashoffset = Math.floor(length[j] * (1 - progress));\n     }\n     handle = window.requestAnimationFrame(draw);\n   }\n};\ndraw();\n</script>\n\nFirst, we need to initialize a few variables to set the current frame, the number of frames, how fast the animation will run, and we get each of the paths based on their IDs. With those paths, we set the dash and dash offset.\n\npath[i].style.strokeDasharray = l + ' ' + l; \npath[i].style.strokeDashoffset = l;\n\nWe start the line as a dash, which effectively makes it blank or invisible.\n\nNext, we move to the draw() function. This is where the magic happens. We want to increment the frame to move us forward in the animation and check it\u2019s not finished. If it continues, we then take a percentage of the distance based on the frame and then set the dash offset to this new percentage. This gives the illusion that the line is being drawn. Then we have an animation callback, which starts the draw process over again.\n\nThat\u2019s it! It will work with any SVG <path> element that you can draw.\n\nLibraries to get you started\n\nIf you aren\u2019t sure where to start with SVG, there are several libraries out there to help. They also abstract all browser compatibility issues to make your life easier.\n\n\n\tRapha\u00ebl\n\tSnap.svg\n\tsvg.js\n\n\nYou can also get most vector applications to export SVG. This means that you can continue your normal workflows, but instead of flattening the image as a PNG or bringing it over to Photoshop to rasterize, you can keep all your hard work as vectors and reap the benefits of SVG.", "year": "2013", "author": "Brian Suda", "author_slug": "briansuda", "published": "2013-12-07T00:00:00+00:00", "url": "https://24ways.org/2013/animating-vectors-with-svg/", "topic": null}
{"rowid": 17, "title": "Bringing Design and Research Closer Together", "contents": "The \u2018should designers be able to code\u2019 debate has raged for some time, but I\u2019m interested in another debate: should designers be able to research? \n\nAre you a designer who can do research? Good research and the insights you uncover inspire fresh ways of thinking and get your creative juices flowing. Good research brings clarity to a woolly brief. Audience insight helps sharpen your focus on what\u2019s really important. Experimentation through research and design brings a sense of playfulness and curiosity to your work. Good research helps you do good design.\n\nBeing a web designer today is pretty tough, particularly if you\u2019re a freelancer and work on your own. There are so many new ideas, approaches to workflow and trends and tools to keep up with. How do you decide which things to do and which to ignore? A modern web designer needs to be able to consider the needs of the audience, design appropriate IAs and layouts, choose colour palettes, pick appropriate typefaces and type layouts, wrangle with content, style, code, dabble in SEO, and the list goes on and on. Not only that, but today\u2019s web designer also has to keep up with the latest talking points in the industry: responsive design, Agile, accessibility, Sass, Git, lean UX, content first, mobile first, blah blah blah. Any good web designer doesn\u2019t need to be persuaded about the merits of including research in their toolkit, but do you really have time to include research too? \n\nWho is responsible for research?\n\nGenerally, research in the web industry forms part of other disciplines and isn\u2019t so much a discipline in its own right. It\u2019s very often thought of as part of UX, or activities that make up a process such as IA or content strategy. Research is often undertaken by UX designers, information architects or content strategists and isn\u2019t something designers or developers get that involved in. Some people lump all of these activities together and label it design research and have design researchers to do it. Some companies, such as the one I run with my husband Mark, are lucky enough to have someone with specialist research knowledge (yup, that would be me folks) who can lead all or most of the research work undertaken by the company. See also Mule Design, GOV.UK, the BBC, Mailchimp, Facebook and Twitter. \n\nWhat if you\u2019re not lucky enough to have your own researcher or team of researchers? Often research is the kind of thing that\u2019s nice to have, or it can be cut from scope when doing the budget dance with a client. It often forms part of the discovery phase of a project and sometimes just becomes a tick-box exercise. But research isn\u2019t just user testing and it shouldn\u2019t just live in a report on Basecamp that no one reads. I would argue that research and experimentation is a way of working or an approach to how you design. Research can be used during the whole design process and must be a vital part of a designer\u2019s workflow on every project. Even if you work in a small studio, you can still create a culture of audience insight. Even if you work on your own, you can still absorb yourself in as much audience data as you can throughout the project life cycle. Here\u2019s how.\n\nResearch is everyone\u2019s job\n\nThere is a subtle difference between writing a research report and delivering it to a client, and them actually using it and applying the insights to their thought process. In my experience of working in the audiences team at the BBC, research was most effective when the role was embedded in the production team and insights were used as part of the editorial process.\n\nIn this section I\u2019ll talk through some common problems you might encounter in a typical project life cycle and show you ways you can use research to help you. For the sake of this article, let\u2019s imagine that we\u2019re talking about a particular project here and not ongoing product development. The same principles can of course be applied then, but even if you work in-house rather than on the agency side, you\u2019re probably used to working on distinct projects or phases of work.\n\n1. Problem: I want to come up with a new product idea. \n\nSolution: Inspiration through insights.\n\nBefore you begin a new project, a good way of quickly absorbing all the existing knowledge that there maybe about a theme, product type or website is to literally surround yourself with it. This is especially relevant for new ideas or product development. Create an incident room if you can: fill the walls of your meeting room, the walls near your desk, or even just use a pinboard or online pinboard if space is tight or you\u2019re working with a dispersed team. The same process can be used throughout a project\u2019s or product life cycle \u2014 read about how MailChimp has applied this idea. \n\nLet\u2019s take a new product idea as an example. Say you wanted to develop a responsive tool for web designers but you weren\u2019t sure what aspect of responsive design to focus on. First of all, you should pose a hypothesis or problem statement to gather ideas around. For example: \u201cHow to speed up a designer\u2019s responsive workflow.\u201d You would then need to gather insights around this topic. You could run some interviews with freelance designers about how they work responsively. You could shadow a development team for the day to understand their processes. You could observe conversations on Twitter or IRC or wherever your target audience interact to see what people talk about. You could search out industry data and articles currently available.\n\nThe next stage is to comb through this data and extract insights from it. You can use good old Post-it notes and a sharpie: capture one insight or thought per Post-it. If one insight leads into another, use two Post-its. The objective is volume. Try to ensure clarity in each Post-it so you don\u2019t have to go back and reference material again (maybe you could use a key if you think it\u2019ll get confusing).\n\n\n\nAfter this, stick them all up and synthesise the same way you would for any kind of cluster or affinity sort. Organise into broad themes. These themes then become springboards for further exploration and idea generation. You might see a gap or opportunity in one particular area, both from a workflow perspective but also from a business perspective. Bingo. Your insights then become the fuel for ideas generation.\n\nThis method doesn\u2019t just have to be used for new products \u2014 it works particularly well in a discovery phase for new projects or for new features in an existing product. We\u2019re doing something similar for our own responsive tool, Gridset at the moment.\n\nResources:\n\n\n\tSticky Wisdom by Dave Allan, Matt Kingdon, Kris Murrin, Daz Rudkin\n\tThe Science of Serendipity by Matt Kingdon\n\tThe Art of Innovation by Tom Kelley\n\n\n2. Problem: You\u2019re starting a new project and need to know the basics before you get headlong into designing or building. \n\nSolution: Quantitative survey.\n\nCommon questions might be:\n\n\n\tWho are the users?\n\tHow many are there?\n\tWhat are they like?\n\tWhy do they use the site?\n\tWhat do they need from the site?\n\tWhat are their goals?\n\n\nPrint out and stick up what you already know and have in your project space or \u2018incident room\u2019: any reports you have found or been given, analytics graphs, personas, pen portraits, as well as screengrabs of the current website, product or branding. Spend time looking through it all and identify the gaps. \n\nIf you have very little existing audience data, a quick and easy way to get some baseline information is to run a quick user survey on a current website. You can establish basic demographic information, appreciation and views of the website as it stands, as well as delve a little deeper into needs and wants. This is also vital if you want some kind of trackable measures to go back to once you have designed and built your shiny new website for your client \u2014 read more in my article for 24 ways last year.)\n\n\n\nWe use surveys a lot at Mark Boulton Design for our client work. Here\u2019s a screen grab of one we ran in March on http://info.cern.ch before we redesigned the site and did the work on the First Website Project. We repeated the survey after the new website went live and were able to compare the results. Both surveys were a great source of insight to the project team as well as for the project stakeholders who needed to pitch the idea of the hack days and fundraise for them.\n\n\n\nOnce you\u2019ve run your survey, you should always write up a short summary for yourself and your client to refer to. If you\u2019re not a trained researcher, you should try to read up on analysis techniques or data visualisation. It can be easy to misinterpret data and make it bend to the story you are trying to tell. You should be looking for the story in the data and present it without bias. \n\nIf you\u2019re using the \u2018incident room\u2019 method I mentioned earlier on, you can also extract the insights onto post it notes and add them to your growing body of knowledge.\n\nResources: \n\n\n\tUsing Questionnaires for Design Research by Emma Boulton\n\tData-driven Design with an Annual Survey by Aarron Walter\n\tResearch Methods for Product Design by Alex Milton and Paul Rodgers\n\tA Practical Guide to Designing with Data by Brian Suda\n\n\n3. Problem: You have a prototype of a new design and you need some feedback from real users. \n\nSolution: User interviews and task based testing.\n\nInterviewing is a staple research method that every designer should master as it can be used throughout a project life cycle. Erika Hall recently wrote a great article on the basics for A List Apart. From stakeholder interviews in a discovery phase, to initial user research, right through to task based testing and iteration, interviews can be enormously helpful. They are very time-consuming, however, and although speaking to someone is better than speaking to no one, it\u2019s always better to plan to do a few interviews at once, rather than one or two. I generally find that patterns only start to emerge after I\u2019ve spoken to 4 or 5 people. Interviews are another thing we do a lot of at Mark Boulton Design. Most of the interviews we do are remote due to the location of our clients and their users. \n\n\n\nRigour is an important consideration in all research activities and especially if you\u2019re a non-researcher. Interviews particularly can be easily skewed by an inexperienced facilitator, which is why pairing can be a good approach. Building rapport, questioning, time keeping, note taking and thinking on your feet can be difficult to do all at once, so having a colleague take notes while you concentrate on leading the conversation can work really well. It\u2019s important for the note taker to sit in on more than one interview so that they get a more rounded view of the feedback. The same person should also be involved in the analysis of the data. \n\n\n\nInterviews can be analysed and written up in a report or summary as with other types of research. I often use the same kind of collaborative process detailed earlier for deciding on themes, particularly if multiple members of the team have been involved in interviewing. \n\nInterviews are particularly useful for our incident room and can provide much colour and insight to an exploratory process. I often find verbatim quotes to be the most insightful type of data. You might find that an inexperienced researcher (or designer who is used to solving problems) will jump to interpretation too soon and forget to just listen to what the interviewee is saying. Capturing the exact form of words a person uses can help get away from this.\n\nResources: \n\n\n\tInterviewing Humans by Erika Hall\n\tA Pocket Guide to Interviewing for Research by Andrew Travers\n\tInterviewing Users by Steve Portigal\n\n\n4. Problem: How successful have I been with this new design? \n\nSolution: Key performance indicators\n\nOnce your new design has been realised, it\u2019s important to evaluate it. What works, what doesn\u2019t work so well? As well as a straightforward design crit, don\u2019t forget to introduce audience insights into a review meeting or project wash up. \n\n\n\nWork out what your KPIs \u2014 your key performance indicators \u2014 will be beforehand and then you can start to track them over time. For example, number of visits, appreciation of the site, willingness to recommend the site to a friend, number of sales, and number of conversions are all sensible measures to track. Interviews can again be helpful but cold, hard numbers are often better here. Read Corey Vilhauer\u2019s take on this on A List Apart.\n\nConsistency is key here. If you have looked at your analytics and done a survey beforehand, you will have a baseline to start from. Don\u2019t keep changing your measures and questions, or your data will not be comparable. Pick a few key questions or a set of measures, create a survey and then run it once a month, once a quarter, every six months or annually. You\u2019ll start to see changes over time as the design beds in. You may see seasonal trends and spot patterns in the data related to other activities like marketing, promotion and so on. Keeping a record of all of this will increase your understanding of your audience. We\u2019ve created a satisfaction survey for Gridset with a number of measures that we track on an ongoing basis. MailChimp has also created an annual survey with the aim of tracking their audience measures over time\n\nResources:\n\n\n\tSearch Analytics by Louis Rosenfeld\n\tA Primer on A/B Testing by Lara Swanson\n\tLean UX by Jeff Gothelf\n\n\nAnyone can do research\n\nResearch can be brought into the project life cycle at any stage. And of course, anyone can do research \u2014 you don\u2019t need to be a researcher. Some of the main skills most designers possess are also key research skills: inquisitive nature, problem solving, playfulness, empathy, and so on.\n\nWe have a small team at Mark Boulton Design. Most of the team are designers and the rest of us focus on supporting the team and clients both in terms of billable work (research, content strategy, project management) as well as the non-billable things like finance and studio management.\n\nDespite my best intentions, in the past I\u2019ve undertaken research for clients in isolation \u2014 first being briefed by the design lead, carrying out the research and then delivering the findings back, trusting the design team to take the findings on board. This was often due to time and availability of resources.\n\nWe\u2019ve been trying hard to join up our processes and collaborate even more across the team. Undertaking heuristic or design reviews collaboratively; taking part in frequent critiques of our work and the work of others together; pairing a researcher and a designer to run interviews; workshopping results from interviews to come up with recommendations; working closely together on questionnaire design; shadowing each other on tasks that don\u2019t fall within our core skills. A little thing like moving our desks around has also helped us have more conversations that we can all be a part of.\n\n\n\nI\u2019ve come to the conclusion that my role as the research director at Mark Boulton Design is actually a facilitator of research. As well as carrying out research, I am responsible for ensuring that research happens consistently across the team. I am responsible for empowering and training our designers so they feel confident in carrying out their own user, audience or design research for clients. So they know what to look for, when to listen, when to probe and when to take note of something. So they know how to look for themes, how to synthesise insights from research and how to apply them to their work.\n\nBetter research leads to better design\n\nSo, are you a designer who can do research? Are you a researcher who can design? The best designers are a lucky combination of researcher and designer. If you\u2019re not one of those, look at ways of enhancing the skills you lack. Because there\u2019s no doubt in my mind, that becoming a better researcher will make you a better designer.\n\nGeneral resources: \n\n\n\tSeeing the Elephant by Louis Rosenfeld\n\tConnected UX by Aarron Walter\n\tBeyond Usability Testing by Devan Goldstein\n\tJust Enough Research by Erika Hall\n\tThe User Experience Team of One by Leah Buley\n\tUndercover User Experience Design by Cennydd Bowles and James Box\n\tA Pocket Guide to Psychology for Designers by Joe Leech\n\tA Pocket Guide to International User Research by Chui Chui Tan\n\tRemote Research by Nate Bolt and Tony Tulathimutte\n\tA Pocket Guide to Experiments for Designers by Colin McFarland", "year": "2013", "author": "Emma Boulton", "author_slug": "emmaboulton", "published": "2013-12-22T00:00:00+00:00", "url": "https://24ways.org/2013/bringing-design-and-research-closer-together/", "topic": "ux"}
{"rowid": 8, "title": "Coding Towards Accessibility", "contents": "\u201cCan we make it AAA-compliant?\u201d \u2013 does this question strike fear into your heart? Maybe for no other reason than because you will soon have to wade through the impenetrable WCAG documentation once again, to find out exactly what AAA-compliant means?\n\nI\u2019m not here to talk about that.\n\nThe Web Content Accessibility Guidelines are a comprehensive and peer-reviewed resource which we\u2019re lucky to have at our fingertips. But they are also a pig to read, and they may have contributed to the sense of mystery and dread with which some developers associate the word accessibility.\n\nThis Christmas, I want to share with you some thoughts and some practical tips for building accessible interfaces which you can start using today, without having to do a ton of reading or changing your tools and workflow.\n\nBut first, let\u2019s clear up a couple of misconceptions.\n\nDreary, flat experiences\n\nI recently built a front-end framework for the Post Office. This was a great gig for a developer, but when I found out about my client\u2019s stringent accessibility requirements I was concerned that I\u2019d have to scale back what was quite a complex set of visual designs.\n\nSites like Jakob Neilsen\u2019s old workhorse useit.com and even the pioneering GOV.UK may have to shoulder some of the blame for this. They put a premium on usability and accessibility over visual flourish. (Although, in fairness to Mr Neilsen, his new site nngroup.com is really quite a snazzy affair, comparatively.)\n\nOf course, there are other reasons for these sites\u2019 aesthetics \u2014 and it\u2019s not because of the limitations of the form. You can make an accessible site look as glossy or as plain as you want it to look. It\u2019s always our own ingenuity and attention to detail that are going to be the limiting factors.\n\nSynecdoche\n\nWe must always guard against the tendency to assume that catering to screen readers means we have the whole accessibility ballgame covered. \n\nThere\u2019s so much more to accessibility than assistive technology, as you know. And within the field of assistive technology there are plenty of other devices for us to consider.\n\nPlanning to accommodate all these users and devices can be daunting. When I first started working in this field I thought that the breadth of technology was prohibitive. I didn\u2019t even know what a screen reader looked like. (I assumed they were big and heavy, perhaps like an old typewriter, and certainly they would be expensive and difficult to fathom.) This is nonsense, of course. Screen reader emulators are readily available as browser extensions and can be activated in seconds. Chromevox and Fangs are both excellent and you should download one or the other right now.\n\nBut the really good news is that you can emulate many other types of assistive technology without downloading a byte. And this is where we move from misconceptions into some (hopefully) useful advice.\n\nThe mouse trap\n\nThe simplest and most effective way to improve your abilities as a developer of accessible interfaces is to unplug your mouse.\n\nKeyboard operation has its own WCAG chapter, because most users of assistive technology are navigating the web using only their keyboards. You can go some way towards putting yourself into their shoes so easily \u2014 just by ditching a peripheral.\n\nLearning this was a lightbulb moment for me. When I build interfaces I am constantly flicking between code and the browser, testing or viewing the changes I have made. Now, instead of checking a new element once, I check it twice: once with my mouse and then again without.\n\nDon\u2019t just :hover\n\nThe reality is that when you first start doing this you can find your site becomes unusable straightaway. It\u2019s easy to lose track of which element is in focus as you hit the tab key repeatedly.\n\nOne of the easiest changes you can make to your coding practice is to add :focus and :active pseudo-classes to every hover state that you write. I\u2019m still amazed at how many sites fail to provide a decent focus state for links (and despite previous 24 ways authors in 2007 and 2009 writing on this same issue!).\n\nYou may find that in some cases it makes sense to have something other than, or in addition to, the hover state on focus, but start with the hover state that your designer has taken the time to provide you with. It\u2019s a tiny change and there is no downside. So instead of this:\n\n.my-cool-link:hover {\n\tbackground-color: MistyRose ;\t\n}\n\n\u2026try writing this:\n\n.my-cool-link:hover,\n.my-cool-link:focus,\n.my-cool-link:active {\n\tbackground-color: MistyRose ;\t\n}\n\nI\u2019ve toyed with the idea of making a Sass mixin to take care of this for me, but I haven\u2019t yet. I worry that people reading my code won\u2019t see that I\u2019m explicitly defining my focus and active states so I take the hit and write my hover rules out longhand.\n\nJavaScript can play, too\n\nThis was another revelation for me. Keyboard-only navigation doesn\u2019t necessitate a JavaScript-free experience, and up-to-date screen readers can execute JavaScript. So we\u2019re able to create complex JavaScript-driven interfaces which all users can interact with.\n\nSome of the hard work has already been done for us. First, there are already conventions around keyboard-driven interfaces. Think about the last time you viewed a photo album on Facebook. You can use the arrow keys to switch between photos, and the escape key closes whichever lightbox-y UI thing Facebook is showing its photos in this week. Arrow keys (up/down as well as left/right) for progression through content; Escape to back out of something; Enter or space bar to indicate a positive intention \u2014 these are established keyboard conventions which we can apply to our interfaces to improve their accessiblity. \n\nOf course, by doing so we are improving our interfaces in general, giving all users the option to switch between keyboard and mouse actions as and when it suits them.\n\nSecond, this guy wants to help you out. Hans Hillen is a developer who has done a great deal of work around accessibility and JavaScript-powered interfaces. Along with The Paciello Group he has created a version of the jQuery UI library which has been fully optimised for keyboard navigation and screen reader use. It\u2019s a fantastic reference which I revisit all the time \n\nI\u2019m not a huge fan of the jQuery UI library. It\u2019s a pain to style and the code is a bit bloated. So I\u2019ve not used this demo as a code resource to copy wholesale. I use it by playing with the various components and seeing how they react to keyboard controls. Each component is also fully marked up with the relevant ARIA roles to improve screen reader announcement where possible (more on this below).\n\nCoding for accessibility promotes good habits\n\nThis is a another observation around accessibility and JavaScript. I noticed an improvement in the structure and abstraction of my code when I started adding keyboard controls to my interface elements. \n\nYour code has to become more modular and event-driven, because any number of events could trigger the same interaction. A mouse-click, the Enter key and the space bar could all conceivably trigger the same open function on a collapsed accordion element. (And you want to keep things DRY, don\u2019t you?) \n\nIf you aren\u2019t already in the habit of separating out your interface functionality into discrete functions, you will be soon.\n\nvar doSomethingCool = function(){\n\t// Do something cool here.\n}\n\n// Bind function to a button click - pretty vanilla\n$('.myCoolButton').on('click', function(){\n\tdoSomethingCool();\n\treturn false;\n});\n\n// Bind the same function to a range of keypresses\n$(document).keyup(function(e){\n\tswitch(e.keyCode) {\n\t\tcase 13: // enter\n\t\tcase 32: // spacebar\n\t\t\tdoSomethingCool();\n\t\t\tbreak;\n\t\tcase 27: // escape\n\t\t\tdoSomethingElse();\n\t\t\tbreak;\n\t}\n});\n\nTo be honest, if you\u2019re doing complex UI stuff with JavaScript these days, or if you\u2019ve been building any responsive interfaces which rely on JavaScript, then you are most likely working with an application framework such as Backbone, Angular or Ember, so an abstraced and event-driven application structure will be familar to you. It should be super easy for you to start helping out your keyboard-only users if you aren\u2019t already \u2014 just add a few more event bindings into your UI layer!\n\nManipulating the tab order\n\nSo, you\u2019ve adjusted your mindset and now you test every change to your codebase using a keyboard as well as a mouse. You\u2019ve applied all your hover states to :focus and :active so you can see where you\u2019re tabbing on the page, and your interactive components react seamlessly to a mixture of mouse and keyboard commands. Feels good, right?\n\nThere\u2019s another level of optimisation to consider: manipulating the tab order. Certain DOM elements are naturally part of the tab order, and others are excluded. Links and input elements are the main elements included in the tab order, and static elements like paragraphs and headings are excluded. What if you want to make a static element \u2018tabbable\u2019? \n\nA good example would be in an expandable accordion component. Each section of the accordion should be separated by a heading, and there\u2019s no reason to make that heading into a link simply because it\u2019s interactive.\n\n<div class=\"accordion-widget\">\n\t<h3>Tyrannosaurus</h3>\n\t<p>Tyrannosaurus; meaning \"tyrant lizard\"...<p>\n\n\t<h3>Utahraptor</h3>\n\t<p>Utahraptor is a genus of theropod dinosaurs...<p>\n\n\t<h3>Dromiceiomimus</h3>\n\t<p>Ornithomimus is a genus of ornithomimid dinosaurs...<p>\n</div>\n\nAdding the heading elements to the tab order is trivial. We just set their tabindex attribute to zero. You could do this on the server or the client. I prefer to do it with JavaScript as part of the accordion setup and initialisation process.\n\n$('.accordion-widget h3').attr('tabindex', '0');\n\nYou can apply this trick in reverse and take elements out of the tab order by setting their tabindex attribute to \u22121, or change the tab order completely by using other integers. This should be done with great care, if at all. You have to be sure that the markup you remove from the tab order comes out because it genuinely improves the keyboard interaction experience. This is hard to validate without user testing. The danger is that developers will try to sweep complicated parts of the UI under the carpet by taking them out of the tab order. This would be considered a dark pattern \u2014 at least on my team!\n\nA farewell ARIA\n\nThis is where things can get complex, and I\u2019m no expert on the ARIA specification: I feel like I\u2019ve only dipped my toe into this aspect of coding for accessibility. But, as with WCAG, I\u2019d like to demystify things a little bit to encourage you to look into this area further yourself.\n\nARIA roles are of most benefit to screen reader users, because they modify and augment screen reader announcements. \n\nLet\u2019s take our dinosaur accordion from the previous section. The markup is semantic, so a screen reader that can\u2019t handle JavaScript will announce all the content within the accordion, no problem.\n\nBut modern screen readers can deal with JavaScript, and this means that all the lovely dino information beneath each heading has probably been hidden on document.ready, when the accordion initialised. It might have been hidden using display:none, which prevents a screen reader from announcing content. If that\u2019s as far as you have gone, then you\u2019ve committed an accessibility sin by hiding content from screen readers. Your user will hear a set of headings being announced, with no content in between. It would sound something like this if you were using Chromevox:\n\n> Tyrannosaurus. Heading Three.\n> Utahraptor. Heading Three.\n> Dromiceiomimus. Heading Three.\n\nWe can add some ARIA magic to the markup to improve this, using the tablist role. Start by adding a role of tablist to the widget, and roles of tab and tabpanel to the headings and paragraphs respectively. Set boolean values for aria-selected, aria-hidden and aria-expanded. The markup could end up looking something like this.\n\n<div class=\"accordion-widget\" role=\"tablist\">\n\t<!-- T-rex -->\t\n\t<h3 role=\"tab\" \n\t\ttabindex=\"0\" \n\t\tid=\"tab-2\" \n\t\taria-controls=\"panel-2\" \n\t\taria-selected=\"false\">Utahraptor</h3>\n\t<p\trole=\"tabpanel\" \n\t\tid=\"panel-2\" \n\t\taria-labelledby=\"tab-2\" \n\t\taria-expanded=\"false\" \n\t\taria-hidden=\"true\">Utahraptor is a genus of theropod dinosaurs...</p>\n\t<!-- Dromiceiomimus -->\t\n</div>\n\nNow, if a screen reader user encounters this markup they will hear the following:\n\n> Tyrannosaurus. Tab not selected; one of three.\n> Utahraptor. Tab not selected; two of three.\n> Dromiceiomimus. Tab not selected; three of three.\n\nYou could add arrow key events to help the user browse up and down the tab list items until they find one they like. \n\nYour accordion open() function should update the ARIA boolean values as well as adding whatever classes and animations you have built in as standard. Your users know that unselected tabs are meant to be interacted with, so if a user triggers the open function (say, by hitting Enter or the space bar on the second item) they will hear this:\n\n> Utahraptor. Selected; two of three.\n\nThe paragraph element for the expanded item will not be hidden by your CSS, which means it will be announced as normal by the screen reader.\n\nThis kind of thing makes so much more sense when you have a working example to play with. Again, I refer you to the fantastic resource that Hans Hillen has put together: this is his take on an accessible accordion, on which much of my example is based.\n\nConclusion\n\nGetting complex interfaces right for all of your users can be difficult \u2014 there\u2019s no point pretending otherwise. And there\u2019s no substitute for user testing with real users who navigate the web using assistive technology every day. This kind of testing can be time-consuming to recruit for and to conduct. On top of this, we now have accessibility on mobile devices to contend with. That\u2019s a huge area in itself, and it\u2019s one which I have not yet had a chance to research properly.\n\nSo, there\u2019s lots to learn, and there\u2019s lots to do to get it right. But don\u2019t be disheartened. If you have read this far then I\u2019ll leave you with one final piece of advice: don\u2019t wait.\n\nDon\u2019t wait until you\u2019re building a site which mandates AAA-compliance to try this stuff out. Don\u2019t wait for a client with the will or the budget to conduct the full spectrum of user testing to come along. Unplug your mouse, and start playing with your interfaces in a new way. You\u2019ll be surprised at the things that you learn and the issues you uncover. \n\nAnd the next time an true accessibility project comes along, you will be way ahead of the game.", "year": "2013", "author": "Charlie Perrins", "author_slug": "charlieperrins", "published": "2013-12-03T00:00:00+00:00", "url": "https://24ways.org/2013/coding-towards-accessibility/", "topic": "code"}
{"rowid": 4, "title": "Credits and Recognition", "contents": "A few weeks ago, I saw a friendly little tweet from a business congratulating a web agency on being nominated for an award. The business was quite happy for them and proud to boot \u2014 they commented on how the same agency designed their website, too.\n\nWhat seemed like a nice little shout-out actually made me feel a little disappointed. Why? In reality, I knew that the web agency didn\u2019t actually design the site \u2014 I did, when I worked at a different agency responsible for the overall branding and identity.\n\nI certainly wasn\u2019t disappointed at the business \u2014 after all, saying that someone designed your site when they were responsible for development is an easy mistake to make. Chances are, the person behind the tweets and status updates might not even know the difference between words like design and development. \n\nWhat really disappointed me was the reminder of how many web workers out there never explain their roles in a project when displaying work in a portfolio. If you\u2019re strictly a developer and market yourself as such, there might be less room for confusion, but things can feel a little deceptive if you offer a wide range of services yet never credit the other players when collaboration is part of the game. Unfortunately, this was the case in this situation. Whatever happened to credit where credit\u2019s due?\n\nAdvertising attribution\n\nHave you ever thumbed through an advertising annual or browsed through the winners of an advertising awards website, like the campaign below from Kopenhagen Chocolate on Advertising Age? If so, it\u2019s likely that you\u2019ve noticed some big differences in how the work is credited.\n\n Everyone involved in a creative advertising project is mentioned.\n\nArt directors, writers, creative directors, photographers, illustrators and, of course, the agency all get a fair shot at fifteen minutes of fame. Why can\u2019t we take this same idea and introduce it to our own showcases?\n\nCrediting on client sites\n\nAh, the good old days of web rings, guestbooks, and under construction GIFs, when slipping in a cheeky \u201cdesigned by\u201d link in the footer of your masterpiece was just another common practice. These days most clients, especially larger companies and corporations, aren\u2019t willing to have any names on their site except their own. \n\nIf you\u2019d still like to leave a little proof of authorship on a website, consider adding a humans.txt file to the root of the site and, if possible, add an author tag in the <head> of the site:\n\n<link type=\"text/plain\" rel=\"author\" href=\"http://domain/humans.txt\">\n\nIt\u2019s a great way to add more detailed information than just a meta name without being intrusive. The example on the humanstxt.org website serves to act as a guideline, but how much detail you add is completely up to you and your team.\n\n Part of the humans.txt file on humanstxt.org\n\nAlternatively, you can use the HTML5 rel=\"author\" attribute to link to information about the author of the page in the form of a mailto: address, a link to a contact form, or a separate authors page.\n\nCrediting in portfolios\n\nWhile humans.txt is a great approach when you\u2019re authoring a site, it\u2019s even more important to clearly define your role in your own portfolio. \n\nWhile I believe it\u2019s proper etiquette to include the names of folks you collaborated with, sometimes it might not be necessary (or even possible) to list every single person, especially if you\u2019ve worked with a large agency. \n\n\u201cFake it till you make it\u201d is not a term that should apply to your portfolio. Clearly stating your own responsibilities means that nobody else browsing your work samples will assume that you did more than your actual share, and being ambiguous about your role isn\u2019t fair to yourself, or others. \n\nBefore adding any work to your portfolio, ensure that you have permission from your client. Even if you included a clause in your contract about being allowed to post your work online, it\u2019s always best to double-check. Sometimes you might not know if your work has been officially launched, and leaking something before it\u2019s ready is bound to make a client frown.\n\nExamples\n\nThere are plenty of portfolios out there that we can use for inspiration. Here are some examples that I like from other folks in the web industry:\n\nAnna Debenham\n\n In her portfolio, Anna outlines her responsibilities and those of others.\n\nIn the description, Anna clearly explains her duties of doing the HTML and CSS, along with performing research and testing the prototype in schools. She also credits Laura Kalbag for the design work.\n\nNaomi Atkinson Design\n\nThe work portfolio of Naomi Atkinson Design is short and to the point \u2014 they were responsible for the iPhone app design and IA for Artspotter.\n\n The portfolio of Naomi Atkinson Design states clearly what they did.\n\nAmber Weinberg\n\nAmber Weinberg is strictly a developer, but a potential client could see her portfolio and assume she might be a designer as well. To avoid any misunderstandings, she states her roles up front in a section called \u201cWhat I Did,\u201d supported by examples of her code.\n\n Amber Weinberg sets out all her roles in each of her portfolio\u2019s case studies.\n\nWhat if someone doesn\u2019t want to be credited?\n\nLet\u2019s face it \u2014 we\u2019ve all been there. A project, for whatever reason, turns out to be an absolute disaster and we don\u2019t feel like it\u2019s an accurate representation of the quality of our work. \n\nIf you\u2019re crediting someone else but suspect they might rather pretend it never happened, be sure to drop them a line and ask if they\u2019d like to be included. And, if someone contacts you and asks to remove their name, don\u2019t feel offended \u2014 just politely remove it.\n\nGet updating!\n\nNow that the holiday season is almost here, many of you might be planning to set aside some time for personal projects. Grab yourself a gingerbread latte and get those portfolios up to date. Remember, It doesn\u2019t have to be long-winded, just honest. Happy holidays!", "year": "2013", "author": "Geri Coady", "author_slug": "gericoady", "published": "2013-12-16T00:00:00+00:00", "url": "https://24ways.org/2013/credits-and-recognition/", "topic": "process"}
{"rowid": 13, "title": "Data-driven Design with an Annual Survey", "contents": "Too often, we base designs on assumptions that don\u2019t match customer perspectives. Why? Because the data we need to make informed decisions isn\u2019t available.\n\nImagine starting off the year with a treasure trove of user data that can be filtered, sliced, and diced to inform new UI designs, help you discover where users struggle the most, and expose emerging trends in your customers\u2019 needs that could lead to new features. Why, that would be useful indeed. And it\u2019s easy to obtain by conducting an annual survey.\n\nAnnual surveys may seem as exciting as receiving socks and undies for Christmas, but they\u2019re the gift that keeps on giving all year long (just like fresh socks and undies). I\u2019m not ashamed to admit it: I love surveys! Each time my design research team runs a survey, we learn so much about customer motivations, interests, and behaviors. \n\nSurveys provide an aggregate snapshot of your users that can\u2019t easily be obtained by other research methods, and they can be conducted quickly too. You can build a survey in a few hours, run a pilot test in a day, and have real results streaming in the following day. Speed is essential if design research is going to keep pace with a busy product release schedule. \n\nSurveys are also an invaluable springboard for customer interviews, which provide deep perspectives on user behavior. If you play your cards right as you construct your survey, you can capture a user ID and an email address for each respondent, making it easy to get in touch with customers whose feedback is particularly intriguing. No more recruiting customers for your research via Twitter or through a recruiting company charging a small fortune. You can filter survey responses and isolate the exact customers to talk with in moments, not months.\n\nI love this connected process of sending targeted surveys, filtering the results, and then \u2014 with surgical precision \u2014 selecting just the right customers to interview. Not only is it fast and cheap, but it lets design researchers do quantitative and qualitative research in a coordinated way. Aggregate survey responses help you quantify the perspectives of different user segments, and interviews help you get into the heads of your customers.\n\nAn annual survey can give your team the data needed to make more informed designs in the new year. It all starts with a plan.\n\nPlanning your survey\n\nBefore you start jotting down questions to ask users, spend some time thinking about the work your team will be doing in the coming year. Are you planning new mobile apps or a responsive redesign? Then questions about devices used and behaviors around mobile devices might be in order. Rethinking your content strategy? Then you might want to ask a few questions about how your customers consume content.\n\nYou can\u2019t predict all of the projects you\u2019ll be working on in the coming year, but tuck a couple of sections in your survey about the projects you\u2019re certain about. This will give you the research you need to start new projects with solid foundational data.\n\nGoogle Drive is a great place to start collaboratively building survey questions with colleagues. Questions that seem crystal clear in your head get challenged, refined, or even expanded quickly when the entire team can chime in. \n\nAs you craft your survey, try to consider how you\u2019ll filter it once all of the data is compiled. Do you need to see responses by industry, by age of an account, by devices used, or by size of company? Adding the right filter questions can help you discover fascinating patterns in user segments. Filtering on responses to a few questions can surface insights like: customers in non-profit companies with more than 100 employees are 17% more likely to use an Android phone and are most attracted to features A, D, and F. A designer working on the landing page for a non-profit would love to have concrete information like this. Filter questions are key, so consider them carefully. But don\u2019t go overboard \u2014 too many of them and you\u2019ll start to hurt your survey response rate.\n\nMultiple choice questions are the heart of most surveys because respondents can complete them quickly, which increases response rate, and researchers can analyze them without a lot of manual categorization. Open text field questions are valuable too, but be careful not to add too many to your survey. You\u2019ll hate yourself after the survey\u2019s done and you have to sort through and tag thousands of open responses so patterns become visible. Oy vey!\n\nAn open-ended question works well towards the end of the survey. At this point respondents have a lot of topics swirling around in their head and tend to say weird things that will pique your interest. This is where you\u2019ll find the outliers who are using your product. They\u2019ll be fascinating to interview, and on occasion will help you see your work in a brand new way.\n\nConclude your survey with a question asking permission to get in touch for a followup interview so you don\u2019t pester people who want to be left alone. \n\nWith your questions nailed down, it\u2019s time to build out that survey and get it ready for sending!\n\nBuilding your survey\n\nThere are dozens of apps you could use to build your survey, but SurveyMonkey is the one that I prefer. It lets you pass in variables for each respondent such as user ID and email address. Metadata about respondents is essential if you\u2019re going to do any follow-up interviews with your customers in the coming year. SurveyMonkey also makes it easy to set up question logic, showing questions to customers only if they responded in a certain way to a prior question. This helps you avoid asking irrelevant questions to some respondents.\n\nDetermining survey recipients\n\nOnce you\u2019ve chosen a survey tool and entered all of your questions, you need to gather a list of recipients. Your first instinct will be to send it to everyone. You might say, \u201cI need maximum response and metric shit tons of data!\u201d But this is rarely the best approach \u2014 broad distribution almost always leads to lower response rates, increased noise, and decreased signal in your data. Are there subsets of customers you could send to, like only those who are active, those who are paying, or have been with you for a certain length of time? Talk to the keepers of your customer database and see how they can segment it so you can be certain you\u2019re talking to just the people who will have the most relevant responses for your needs. \n\nIf you want to get super nerdy when finding the right customer sample to survey, use a [sample size calculator]. Sampling is a deep subject best explored in other articles. \n\nCrafting your survey email\n\nAfter focusing your energies on writing and building your survey, the email asking your customers to respond seems almost trivial, but it will greatly influence your response rate. Take great care when writing your subject line and the body of the email. If you can pull it off, A/B testing subject lines can greatly improve the open rate of your email and click-through to your survey. My design research team has seen a ~10% increase in open and click rates when we A/B tested. We\u2019ve found that personalizing subject lines and greetings with the recipients name (ie. \u201cHey, Aarron. How can we make our app work better for you?\u201d) gave us the best response rates. Your mileage may vary.\n\nThe tone of your email is important \u2014 be friendly, honest, and to the point. Those that are passionate about your product will be happy to share their perspective. Writing a survey email that people will actually respond to ain\u2019t easy \u2014 in fact, they\u2019re almost always annoying. But Ben Chestnut found a non-annoying way to send a survey email and improve response rates.\n\nThe email sent for the 2013 MailChimp survey let customers know what we\u2019d been up to in the previous year, and invited feedback on what we should work on in the coming year.\n\nThe link to your survey should be a clear call to action. A big button with a label like \u201cAnswer a few questions\u201d generally does the trick. The URL linking to the survey will need to include some variables like user ID and email. It might look something like this if you\u2019re using SurveyMonkey:\n\nhttp://surveymonkey.com/s/somesurveyid/?uid=*|UID|*&email=*|email|*\n\nAs each email is sent, the proper data will be populated in the variables, passing it on to the survey app for inclusion in each response. This is the magic that will help you pinpoint customers to interview down the road, so take special care to test that all is working before sending to all recipients. How you construct the survey link will vary depending on what survey tool and email service provider you use, so don\u2019t take my example as gospel. You\u2019ll need to read the documentation for your survey and email apps to set things up properly.\n\nPilot before sending\n\nBy now, you\u2019ve whipped yourself into a fever pitch over your brilliant survey and the data you hope to collect. Your finger is on the send button, poised for action, but there\u2019s one very important thing to do before you send to the entire list of customers: send a pilot email. How do you know if your questions are clear, your form logic is sound, and you\u2019re passing variables from the email to the survey properly? You won\u2019t, unless you send to a small segment of your recipients first. \n\nThe data collected in your pilot will make plain where your survey needs refinement. This data won\u2019t be used in your final analysis, as you\u2019re probably going to make a few changes to your questions.\n\nSend the pilot survey to enough people that you can really stress test the clarity of the questions and data you\u2019re gathering, while considering how much data can you comfortably throw out. If you\u2019re sending your final survey to a few thousand people, you might find a couple of hundred recipients for your pilot will give you enough insight into what to improve while leaving the vast majority of the recipients for your final survey.\n\nAfter you\u2019ve sent your pilot, made your survey adjustments, and ensured the variables are being passed from your email into the survey app, you\u2019re ready to send to the remainder of your customers. This is your moment of glory!\n\nAnalyzing your results\n\nAfter a couple of weeks you can probably safely close the survey so no other responses come in as you transition from data gathering to data analysis. Any survey app worth its salt will chart responses to your multiple choice questions. Reviewing these charts is a great place to start your analysis. Is there anything particularly interesting that stands out? Jot down some of your observations. I like to print screenshots of the charts for each question, highlighting areas of interest. These prints become a particularly handy reference point for the next step in your analysis. \n\nPrinting results from a survey makes comparing different customers easy.\n\nViewing aggregate data about all responses is interesting, but the deltas between different types of customers are where the real revelations happen. Remember those filter questions you added to your survey? They\u2019re the tool that\u2019ll help you compare customer segments.\n\nMost survey apps will let you filter the data based on response to a question. If the one you\u2019re using doesn\u2019t, you can always export your data and create pivot tables in Excel. Try filtering your data based on one of your filter questions, such as industry, company size, or devices used. Now compare those printed screenshots of baseline responses to the filtered data. Chances are you\u2019ll see some significant differences in how each group responded to your questions, giving you clues about the variance in interests and motivations in customer segments and a leg up as you work on future design projects. \n\nOpen-ended responses are equally interesting, but much more time-consuming to analyze. Yes, you need to read through thousands of responses, some of which are constructive and some of which are not. Taking the time to tag each open response will help you see trends and filter out the responses that are unhelpful.\n\nUnlike questions with predefined answers, open-ended responses let users express unique ideas and use cases you may not be looking for. The tedium of reading thousands of response is always cut by eureka moments when users tell you something fascinating that changes your perspective on your app. These are the folks you want to pull out for follow-up interviews. Because you\u2019ve already captured their email addresses when you set up your survey and your email, getting in touch will be a piece of cake.\n\nFilter, compare, interview, and summarize; then share your findings with your colleagues. Reports are great for head honchos, but if you want to really inform and inspire, create a video, a poster series, or even a comic to communicate what you\u2019ve learned. Want to get really fancy? Store your survey results in a centrally accessible location so anyone in your company can research and discover the insights they need to make more informed designs. \n\nGood design researchers discover valuable insights. Great design researchers turn those insights into stories.\n\nConclusion\n\nAs we enter the new year, it\u2019s a great time to reflect on the work we\u2019ve done in the past and how we can do better in the future. Without a doubt, designers working with a foundation of insights about customers can make more effective UIs. But designers aren\u2019t the only ones who stand to gain from the data collected in an annual survey\u2014anyone who makes things for or communicates with customers will find themselves empowered to do better work when they know more about the people they serve. The data you collect with your survey is a fantastic holiday gift to your colleagues, one that they\u2019ll appreciate throughout the year.", "year": "2013", "author": "Aarron Walter", "author_slug": "aarronwalter", "published": "2013-12-13T00:00:00+00:00", "url": "https://24ways.org/2013/data-driven-design-with-an-annual-survey/", "topic": "design"}
{"rowid": 7, "title": "Get Started With GitHub Pages (Plus Bonus Jekyll)", "contents": "After several failed attempts at getting set up with GitHub Pages, I vowed that if I ever figured out how to do it, I\u2019d write it up. Fortunately, I did eventually figure it out, so here is my write-up.\n\nWhy I think GitHub Pages is cool\n\nNormally when you host stuff on GitHub, you\u2019re just storing your files there. If you push site files, what you\u2019re storing is the code, and when you view a file, you\u2019re viewing the code rather than the output. What GitHub Pages lets you do is store those files, and if they\u2019re HTML files, you can view them like any other website, so there\u2019s no need to host them separately yourself.\n\nGitHub Pages accepts static HTML but can\u2019t execute languages like PHP, or use a database in the way you\u2019re probably used to, so you\u2019ll need to output static HTML files. This is where templating tools such as Jekyll come in, which I\u2019ll talk about later.\n\nThe main benefit of GitHub Pages is ease of collaboration. Changes you make in the repository are automatically synced, so if your site\u2019s hosted on GitHub, it\u2019s as up-to-date as your GitHub repository. This really appeals to me because when I just want to quickly get something set up, I don\u2019t want to mess around with hosting; and when people submit a pull request, I want that change to be visible as soon as I merge it without having to set up web hooks.\n\nBefore you get started\n\nIf you\u2019ve used GitHub before, already have an account and know the basics like how to set up a repository and clone it to your computer, you\u2019re good to go. If not, I recommend getting familiar with that first. The GitHub site has extensive documentation on getting started, and if you\u2019re not a fan of using the command line, the official GitHub apps for Mac and Windows are great.\n\nI also found this tutorial about GitHub Pages by Thinkful really useful, and it contains details on how to turn an existing repository into a GitHub Pages site.\n\nAlthough this involves a bit of using the command line, it\u2019s minimal, and I\u2019ll guide you through the basics.\n\nSetting up GitHub Pages\n\nFor this demo we\u2019re going to build a Christmas recipe site \u2014 nothing complex, just a place to store recipes so we can share them with people, and they can fork or suggest changes to ones they like. My GitHub username is maban, and the project I\u2019ve set up is called christmas-recipes, so once I\u2019ve set up GitHub Pages, the site can be found here: http://maban.github.io/christmas-recipes/\n\nYou can set up a custom domain, but by default, the URL for your GitHub Pages site is your-username.github.io/your-project-name.\n\nSet up the repository\n\nThe first thing we\u2019re going to do is create a new GitHub repository, in exactly the same way as normal, and clone it to the computer. Let\u2019s give it the name christmas-recipes. There\u2019s nothing in it at the moment, but that\u2019s OK.\n\n\n\nAfter setting up the repository on the GitHub website, I cloned it to my computer in my Sites folder using the GitHub app (you can clone it somewhere else, if you want), and now I have a local repository synced with the remote one on GitHub.\n\nNavigate to the repository\n\nNow let\u2019s open up the command line and navigate to the local repository. The easiest way to do this in Terminal is by typing cd  and dragging and dropping the folder into the terminal window and pressing Return. You can refer to Chris Coyier\u2019s GIF illustrating this very same thing, from last week\u2019s 24 ways article \u201cGrunt for People Who Think Things Like Grunt are Weird and Hard\u201d (which is excellent).\n\nSo, for me, that\u2019s\u2026\n\ncd /Users/Anna/Sites/christmas-recipes \n\nCreate a special GitHub Pages branch\n\nSo far we haven\u2019t done anything different from setting up a regular repository, but here\u2019s where things change.\n\nNow we\u2019re in the right place, let\u2019s create a gh-pages branch. This tells GitHub that this is a special branch, and to treat the contents of it differently.\n\nMake sure you\u2019re still in the christmas-recipes directory, and type this command to create the gh-pages branch:\n\ngit checkout --orphan gh-pages\n\nThat --orphan option might be new to you. An orphaned branch is an empty branch that\u2019s disconnected from the branch it was created off, and it starts with no commits, making it a special standalone branch. checkout switches us from the branch we were on to that branch.\n\nIf all\u2019s gone well, we\u2019ll get a message saying Switched to a new branch \u2018gh-pages\u2019.\n\nYou may get an error message saying you don\u2019t have admin privileges, in which case you\u2019ll need to type sudo at the start of that command.\n\nMake gh-pages your default branch (optional)\n\nThe gh-pages branch is separate to the master branch, but by default, the master branch is what will show up if we go to our repository\u2019s URL on GitHub. To change this, go to the repository settings and select gh-pages as the default branch.\n\n\n\nIf, like me, you only want the one branch, you can delete the master branch by following Oli Studholme\u2019s tutorial. It\u2019s actually really easy to do, and means you only have to worry about keeping one branch up to date.\n\nIf you prefer to work from master but push updates to the gh-pages branch, Lea Verou has written up a quick tutorial on how to do this, and it basically involves working from the master branch, and using git rebase to bring one branch up to date with another.\n\nAt the moment, we\u2019ve only got that branch on the local machine, and it\u2019s empty, so to be able to see something at our special GitHub Pages URL, we\u2019ll need to create a page and push it to the remote repository.\n\nMake a page\n\nOpen up your favourite text editor, create a file called index.html in your christmas-recipes folder, and put some exciting text in it. Don\u2019t worry about the markup: all we need is text because right now we\u2019re just checking it works.\n\n\n\nNow, let\u2019s commit and push our changes. You can do that in the command line if you\u2019re comfortable with that, or you can do it via the GitHub app. Don\u2019t forget to add a useful commit message.\n\n\n\nNow we\u2019re ready to see our gorgeous new site! Go to your-username.github.io/your-project-name and, hopefully, you\u2019ll see your first GitHub Pages site. If not, don\u2019t panic, it can take up to ten minutes to publish, so you could make a quick cake in a cup while you wait.\n\nAfter a short wait, our page should be live! Hopefully that wasn\u2019t too traumatic. Now we know it works, we can add some proper markup and CSS and even some more pages.\n\nIf you\u2019re feeling brave, how about we take it to the next level\u2026\n\nSetting up Jekyll\n\nSince GitHub Pages can\u2019t execute languages like PHP, we need to give it static HTML files. This is fine if there are only a few pages, but soon we\u2019ll start to miss things like PHP includes for content that\u2019s the same on every page, like headers and footers.\n\nJekyll helps set up templates and turn them into static HTML. It separates markup from content, and makes it a lot easier for people to edit pages collaboratively. With our recipe site, we want to make it really easy for people to fix typos or add notes, without having to understand PHP. Also, there\u2019s the added benefit that static HTML pages load really fast.\n\nJekyll isn\u2019t officially supported on Windows, but it is still possible to run it if you\u2019re prepared to get your hands dirty.\n\nInstall Jekyll\n\nBack in Terminal, we\u2019re going to install Jekyll\u2026\n\ngem install jekyll\n\n\u2026and wait for the script to run. This might take a few moments. It might take so long that you get worried its broken, but resist the urge to start mashing your keyboard like I did.\n\nGet Jekyll to run on the repository\n\nFingers crossed nothing has gone wrong so far. If something did go wrong, don\u2019t give up! Check this helpful post by Andy Taylor \u2013 you probably just need to install something else first. \n\nNow we\u2019re going to tell Jekyll to set up a new project in the repository, which is in my Sites folder (yours may be in a different place). Remember, we can drag the directory into the terminal window after the command.\n\njekyll new /Users/Anna/Sites/christmas-recipes\n\nIf everything went as expected, we should get this error message: Conflict: /Users/Anna/Sites/christmas-recipes exists and is not empty.\n\nBut that\u2019s OK. It\u2019s just upset because we\u2019ve got that index.html file and possibly also a README.md in there that we made earlier. So move those onto your desktop for the moment and run the command again.\n\njekyll new /Users/Anna/Sites/christmas-recipes\n\nIt should say that the site has installed.\n\nCheck you\u2019re in the repository, and if you\u2019re not, navigate to it by typing cd , drag the christmas-recipes directory into terminal\u2026\n\njekyll cd /Users/Anna/Sites/christmas-recipes\n\n\u2026and type this command to tell Jekyll to run:\n\njekyll serve --watch\n\nBy adding --watch at the end, we\u2019re forcing Jekyll to rebuild the site every time we hit Save, so we don\u2019t have to keep telling it to update every time we want to view the changes. We\u2019ll need to run this every time we start work on the project, otherwise changes won\u2019t be applied. For now, wait while it does its thing. \n\nUpdate the config file\n\nWhen it\u2019s finished, we\u2019ll see the text press ctrl-c to stop. Don\u2019t do that, though. Instead, open up the directory. You\u2019ll notice some new files and folders in there. There\u2019s one called _site, and that\u2019s where all the site files are saved when they\u2019re turned into static HTML. Don\u2019t touch the files in here \u2014 they\u2019re the generated files and will get overwritten every time we make changes to pages and layouts.\n\nThere\u2019s a file in our directory called _config.yml. This has some settings we can change, one of them being what our base URL is. GitHub Pages will assume the base URL is above the project repository, so changing the settings here will help further down the line when setting up navigation links.\n\nReplace the contents of the _config.yml file with this:\n\nname: Christmas Recipes\nmarkdown: redcarpet\npygments: true\nbaseurl: /christmas-recipes\n\nSet up your files\n\nOverwrite the index.html file in the root with the one we made earlier (you might want to pop the README.md back in there, too). \n\nDelete the files in the css folder \u2014 we\u2019ll add our own later.\n\nView the Jekyll site\n\nOpen up your favourite browser and type http://localhost:4000/christmas-recipes in the address bar.\n\n\n\nCheck it out, that\u2019s your site! But it could do with a bit more love.\n\nSet up the _includes files\n\nIt\u2019s always useful to be able to pull in snippets of content onto pages, such as the header and footer, so they only need to be updated in one place. That\u2019s what an _includes folder is for in Jekyll. Create a folder in the root called _includes, and within it add two files: head.html and foot.html. \n\nIn head.html, paste the following:\n\n<!DOCTYPE html>\n<html>\n    <head>\n        <meta charset=\"utf-8\">\n        <title>{{ page.title }}</title>\n        <link rel=\"stylesheet\" href=\"{{ site.baseurl }}/css/main.css\" >\n    </head>\n    <body>\n\nand in foot.html:\n\n</body>\n</html>\n\nWhenever we want to pull in something from the _includes folder, we can use {% include filename.html %} in the layout file \u2014 I\u2019ll show you how to set that up in next step.\n\nMaking layouts\n\nIn our directory, there\u2019s a folder called _layouts and this lets us create a reusable template for pages. Inside that is a default.html file. \n\nDelete everything in default.html and paste in this instead:\n\n{% include head.html %}\n\n    <h1>{{ page.title }}</h1>\n\n    {{ content }}\n\n{% include foot.html %}\n\nThat\u2019s a very basic page with a header, footer, page title and some content. To apply this template to a page, go back into the index.html page and add this snippet to the very top of the file:\n\n---\nlayout: default\ntitle: Home\n---\n\nNow save the index.html file and hit Refresh in the browser. We should see a heading where {{ page.title }} was in the layout, which matches what comes after title: on the page itself (in this case, Home). So, if we wanted a subheading to appear on every page, we could add {{ page.subheading }} to where we want it to appear in our layout file, and a line that says subheading: This is a subheading in between the dashes at the top of the page itself.\n\nUsing Markdown for templates\n\nAnything on a page that sits under the closing dashes is output where {{ content }} appears in the template file. At the moment, this is being output as HTML, but we can use Markdown instead, and Jekyll will convert that into HTML. For this recipe site, we want to make it as easy as possible for people to be able to collaborate, and also have the markup separate from the content, so let\u2019s use Markdown instead of HTML for the recipes.\n\nTelling a page to use Markdown instead of HTML is incredibly simple. All we need to do is change the filename from .html to .md, so let\u2019s rename the index.html to index.md. Now we can use Markdown, and Jekyll will output that as HTML.\n\nCreate a new layout\n\nWe\u2019re going to create a new layout called recipe which is going to be the template for any recipe page we create. Let\u2019s keep it super simple.\n\nIn the _layouts folder, create a file called recipe.html and paste in this:\n\n{% include head.html %}\n\n\t<main>\n\n    \t<h1>{{ page.title }}</h1>\n\n    \t{{ content }}\n\n    \t<p>Recipe by <a href=\"{{ page.recipe-attribution-link }}\">{{ page.recipe-attribution }}</a>.</p>\n\n\t</main>\n\n\t{% include nav.html %}\n\n{% include foot.html %}\n\nThat\u2019s our template. The content that goes on the recipe layout includes a page title, the recipe content, a recipe attribution and a recipe attribution link.\n\nAdding some recipe pages\n\nCreate a new file in the root of the christmas-recipes folder and call it gingerbread.md. Paste the following into it:\n\n---\nlayout: recipe\ntitle: Gingerbread\nrecipe-attribution: HungryJenny\nrecipe-attribution-link: http://www.opensourcefood.com/people/HungryJenny/recipes/soft-christmas-gingerbread-cookies\n---\nMakes about 15 small cookies.\n\n## Ingredients\n\n* 175g plain flour\n* 90g brown sugar\n* 50g unsalted butter, diced, at room temperature\n* 2 tbsp golden syrup\n* 1 egg, beaten\n* 1 tsp ground ginger\n* 1 tsp cinnamon\n* 1 tsp bicarbonate of soda\n* Icing sugar to dust\n\n## Method\n\n1. Sift the flour, ginger, cinnamon and bicarbonate of soda into a large mixing bowl.\n2. Use your fingers to rub in the diced butter. Mix in the sugar.\n3. Mix the egg with the syrup then pour into the flour mixture. Fold in well to form a dough.\n4. Tip some flour onto the work surface and knead the dough until smooth.\n5. Preheat the oven to 180\u00b0C.\n6. Roll the dough out flat and use a shaped cutter to make as many cookies as you like.\n7. Transfer the cookies to a tray and bake in the oven for 15 minutes. Lightly dust the cookies with icing sugar.\n\nThe content is in Markdown, and when we hit Save, it\u2019ll be converted into HTML in the _site folder. Save the file, and go to http://localhost:4000/christmas-recipes/gingerbread.html in your favourite browser.\n\n \n\nAs you can see, the Markdown content has been converted into HTML, and the attribution text and link has been inserted in the right place.\n\n\nAdd some navigation\n\nIn your _includes folder, create a new file called nav.html. Here is some code that will generate your navigation:\n\n<nav class=\"nav-primary\" role=\"navigation\" >\n    <ul>\n        {% for p in site.pages %}\n        <li>\n        \t<a {% if p.url == page.url %}class=\"active\"{% endif %} href=\"{{ site.baseurl }}{{ p.url }}\">{{ p.title }}</a>\n        </li>\n        {% endfor %}\n    </ul>\n</nav>\n\nThis is going to look for all pages and generate a list of them, and give the navigation item that is currently active a class of active so we can style it differently.\n\nNow we need to include that navigation snippet in our layout. Paste {% include nav.html %} in default.html file, under {{ content }}.\n\nPush the changes to GitHub Pages\n\nNow we\u2019ve got a couple of pages, it\u2019s time to push our changes to GitHub. We can do this in exactly the same way as before. Check your special GitHub URL (your-username.github.io/your-project-name) and you should see your site up and running.\n\nIf you quit Terminal, don\u2019t forget to run jekyll serve --watch from within the directory the next time you want to work on the files.\n\nNext steps\n\nNow we know the basics of creating Jekyll templates and publishing them as GitHub Pages, we can have some fun adding more pages and styling them up.\n\n \n \n Here\u2019s one I made earlier\n\n\nI\u2019ve only been using Jekyll for a matter of weeks, mainly for prototyping. It\u2019s really good as a content management system for blogs, and a lot of people host their Jekyll blogs on GitHub, such as Harry Roberts\n\n\n\tBy hosting the code so openly it will make me take more pride in it and allow me to work on it much more easily; no excuses now!\n\n\nOverall, the documentation for Jekyll feels a little sparse and geared more towards blogs than other sites, but as more people discover the benefits of it, I\u2019m sure this will improve over time.\n\nIf you\u2019re interested in poking about with some code, all the files from this tutorial are available on GitHub.", "year": "2013", "author": "Anna Debenham", "author_slug": "annadebenham", "published": "2013-12-18T00:00:00+00:00", "url": "https://24ways.org/2013/get-started-with-github-pages/", "topic": null}
{"rowid": 15, "title": "Git for Grown-ups", "contents": "You are a clever and talented person. You create beautiful designs, or perhaps you have architected a system that even my cat could use. Your peers adore you. Your clients love you. But, until now, you haven\u2019t *&^#^! been able to make Git work. It makes you angry inside that you have to ask your co-worker, again, for that *&^#^! command to upload your work.\n\nIt\u2019s not you. It\u2019s Git. Promise.\n\nYes, this is an article about the popular version control system, Git. But unlike just about every other article written about Git, I\u2019m not going to give you the top five commands that you need to memorize; and I\u2019m not going to tell you all your problems would be solved if only you were using this GUI wrapper or that particular workflow. You see, I\u2019ve come to a grand realization: when we teach Git, we\u2019re doing it wrong.\n\nLet me back up for a second and tell you a little bit about the field of adult education. (Bear with me, it gets good and will leave you feeling both empowered and righteous.) Andragogy, unlike pedagogy, is a learner-driven educational experience. There are six main tenets to adult education: \n\n\n\tAdults prefer to know why they are learning something.\n\tThe foundation of the learning activities should include experience.\n\tAdults prefer to be able to plan and evaluate their own instruction.\n\tAdults are more interested in learning things which directly impact their daily activities.\n\tAdults prefer learning to be oriented not towards content, but towards problems.\n\tAdults relate more to their own motivators than to external ones.\n\n\nNowhere in this list does it include \u201cmemorize the five most popular Git commands\u201d. And yet this is how we teach version control: init, add, commit, branch, push. You\u2019re an expert! Sound familiar? In the hierarchy of learning, memorizing commands is the lowest, or most basic, form of learning. At the peak of learning you are able to not just analyze and evaluate a problem space, but create your own understanding in relation to your existing body of knowledge.\n\n\u201cFine,\u201d I can hear you saying to yourself. \u201cBut I\u2019m here to learn about version control.\u201d Right you are! So how can we use this knowledge to master Git? First of all: I give you permission to use Git as a tool. A tool which you control and which you assign tasks to. A tool like a hammer, or a saw. Yes, your mastery of your tools will shape the kinds of interactions you have with your work, and your peers. But it\u2019s yours to control. Git was written by kernel developers for kernel development. The web world has adopted Git, but it is not a tool designed for us and by us. It\u2019s no Sass, y\u2019know? Git wasn\u2019t developed out of our frustration with managing CSS files in an increasingly complex ecosystem of components and atomic design. So, as you work through the next part of this article, give yourself a bit of a break. We\u2019re in this together, and it\u2019s going to be OK.\n\nWe\u2019re going to do a little activity. We\u2019re going to create your perfect Git cheatsheet.\n\nI want you to start by writing down a list of all the people on your code team. This list may include:\n\n\n\tdevelopers\n\tdesigners\n\tproject managers\n\tclients\n\n\nNext, I want you to write down a list of all the ways you interact with your team. Maybe you\u2019re a solo developer and you do all the tasks. Maybe you only do a few things. But I want you to write down a list of all the tasks you\u2019re actually responsible for. For example, my list looks like this:\n\n\n\twriting code\n\treviewing code\n\tpublishing tested code to your server(s)\n\ttroubleshooting broken code\n\n\nThe next list will end up being a series of boxes in a diagram. But to start, I want you to write down a list of your tools and constraints. This list potentially has a lot of noun-like items and verb-like items:\n\n\n\tcode hosting system (Bitbucket? GitHub? Unfuddle? self-hosted?)\n\tserver ecosystem (dev/staging/live)\n\tautomated testing systems or review gates\n\tautomated build systems (that Jenkins dude people keep referring to)\n\n\nBrilliant! Now you\u2019ve got your actors and your actions, it\u2019s time to shuffle them into a diagram. There are many popular workflow patterns. None are inherently right or wrong; rather, some are more or less appropriate for what you are trying to accomplish.\n\nCentralized workflow\n\nEveryone saves to a single place. This workflow may mean no version control, or a very rudimentary version control system which only ever has a single copy of the work available to the team at any point in time.\n\n \n\nBranching workflow\n\nEveryone works from a copy of the same place, merging their changes into the main copy as their work is completed. Think of the branches as a motorcycle sidecar: they\u2019re along for the ride and probably cannot exist in isolation of the main project for long without serious danger coming to the either the driver or sidecar passenger. Branches are a fundamental concept in version control \u2014 they allow you to work on new features, bug fixes, and experimental changes within a single repository, but without forcing the changes onto others working from the same branch.\n\n \n\nForking workflow\n\nEveryone works from their own, independent repository. A fork is an exact duplicate of a repository that a developer can make their own changes to. It can be kept up to date with additional changes made in other repositories, but it cannot force its changes onto another\u2019s repository. A fork is a complete repository which can use its own workflow strategies. If developers wish to merge their work with the main project, they must make a request of some kind (submit a patch, or a pull request) which the project collaborators may choose to adopt or reject. This workflow is popular for open source projects as it enforces a review process.\n\n \n\nGitflow workflow\n\nA specific workflow convention which includes five streams of parallel coding efforts: master, development, feature branches, release branches, and hot fixes. This workflow is often simplified down to a few elements by web teams, but may be used wholesale by software product teams. The original article describing this workflow was written by Vincent Driessen back in January 2010.\n\n \n\nBut these workflows aren\u2019t about you yet, are they? So let\u2019s make the connections.\n\nFrom the list of people on your team you identified earlier, draw a little circle. Give each of these circles some eyes and a smile. Now I want you to draw arrows between each of these people in the direction that code (ideally) flows. Does your designer create responsive prototypes which are pushed to the developer? Draw an arrow to represent this.\n\nChances are high that you don\u2019t just have people on your team, but you also have some kind of infrastructure. Hopefully you wrote about it earlier. For each of the servers and code repositories in your infrastructure, draw a square. Now, add to your diagram the relationships between the people and each of the machines in the infrastructure. Who can deploy code to the live server? How does it really get there? I bet it goes through some kind of code hosting system, such as GitHub. Draw in those arrows.\n\nBut wait!\n\nThe code that\u2019s on your development machine isn\u2019t the same as the live code. This is where we introduce the concept of a branch in version control. In Git, a repository contains all of the code (sort of). A branch is a fragment of the code that has been worked on in isolation to the other branches within a repository. Often branches will have elements in common. When we compare two (or more) branches, we are asking about the difference (or diff) between these two slivers. Often the master branch is used on production, and the development branch is used on our dev server. The difference between these two branches is the untested code that is not yet deployed.\n\nOn your diagram, see if you can colour-code according to the branch names at each of the locations within your infrastructure. You might find it useful to make a few different copies of the diagram to isolate each of the tasks you need to perform. For example: our team has a peer review process that each branch must go through before it is merged into the shared development branch.\n\nFinally, we are ready to add the Git commands necessary to make sense of the arrows in our diagram. If we are bringing code to our own workstation we will issue one of the following commands: clone (the first time we bring code to our workstation) or pull. Remembering that a repository contains all branches, we will issue the command checkout to switch from one branch to another within our own workstation. If we want to share a particular branch with one of our team mates, we will push this branch back to the place we retrieved it from (the origin). Along each of the arrows in your diagram, write the name of the command you are are going to use when you perform that particular task.\n\n \n\nFrom here, it\u2019s up to you to be selfish. Before asking Git what command it would like you to use, sketch the diagram of what you want. Git is your tool, you are not Git\u2019s tool. Draw the diagram. Communicate your tasks with your team as explicitly as you can. Insist on being a selfish adult learner \u2014 demand that others explain to you, in ways that are relevant to you, how to do the things you need to do today.", "year": "2013", "author": "Emma Jane Westby", "author_slug": "emmajanewestby", "published": "2013-12-04T00:00:00+00:00", "url": "https://24ways.org/2013/git-for-grownups/", "topic": "code"}
{"rowid": 18, "title": "Grunt for People Who Think Things Like Grunt are Weird and Hard", "contents": "Front-end developers are often told to do certain things:\n\n\n\tWork in as small chunks of CSS and JavaScript as makes sense to you, then concatenate them together for the production website.\n\tCompress your CSS and minify your JavaScript to make their file sizes as small as possible for your production website.\n\tOptimize your images to reduce their file size without affecting quality.\n\tUse Sass for CSS authoring because of all the useful abstraction it allows.\n\n\nThat\u2019s not a comprehensive list of course, but those are the kind of things we need to do. You might call them tasks.\n\nI bet you\u2019ve heard of Grunt. Well, Grunt is a task runner. Grunt can do all of those things for you. Once you\u2019ve got it set up, which isn\u2019t particularly difficult, those things can happen automatically without you having to think about them again.\n\nBut let\u2019s face it: Grunt is one of those fancy newfangled things that all the cool kids seem to be using but at first glance feels strange and intimidating. I hear you. This article is for you.\n\nLet\u2019s nip some misconceptions in the bud right away\n\nPerhaps you\u2019ve heard of Grunt, but haven\u2019t done anything with it. I\u2019m sure that applies to many of you. Maybe one of the following hang-ups applies to you.\n\nI don\u2019t need the things Grunt does\n\nYou probably do, actually. Check out that list up top. Those things aren\u2019t nice-to-haves. They are pretty vital parts of website development these days. If you already do all of them, that\u2019s awesome. Perhaps you use a variety of different tools to accomplish them. Grunt can help bring them under one roof, so to speak. If you don\u2019t already do all of them, you probably should and Grunt can help. Then, once you are doing those, you can keep using Grunt to do more for you, which will basically make you better at doing your job.\n\nGrunt runs on Node.js \u2014 I don\u2019t know Node\n\nYou don\u2019t have to know Node. Just like you don\u2019t have to know Ruby to use Sass. Or PHP to use WordPress. Or C++ to use Microsoft Word.\n\nI have other ways to do the things Grunt could do for me\n\nAre they all organized in one place, configured to run automatically when needed, and shared among every single person working on that project? Unlikely, I\u2019d venture.\n\nGrunt is a command line tool \u2014 I\u2019m just a designer\n\nI\u2019m a designer too. I prefer native apps with graphical interfaces when I can get them. But I don\u2019t think that\u2019s going to happen with Grunt1.\n\nThe extent to which you need to use the command line is:\n\n\n\tNavigate to your project\u2019s directory.\n\tType grunt and press Return.\n\n\nAfter set-up, that is, which again isn\u2019t particularly difficult.\n\nOK. Let\u2019s get Grunt installed\n\nNode is indeed a prerequisite for Grunt. If you don\u2019t have Node installed, don\u2019t worry, it\u2019s very easy. You literally download an installer and run it. Click the big Install button on the Node website.\n\nYou install Grunt on a per-project basis. Go to your project\u2019s folder. It needs a file there named package.json at the root level. You can just create one and put it there.\n\n package.json at root\n\nThe contents of that file should be this:\n\n{\n  \"name\": \"example-project\",\n  \"version\": \"0.1.0\",\n  \"devDependencies\": {\n    \"grunt\": \"~0.4.1\"\n  }\n}\n\nFeel free to change the name of the project and the version, but the devDependencies thing needs to be in there just like that.\n\nThis is how Node does dependencies. Node has a package manager called NPM (Node packaged modules) for managing Node dependencies (like a gem for Ruby if you\u2019re familiar with that). You could even think of it a bit like a plug-in for WordPress.\n\nOnce that package.json file is in place, go to the terminal and navigate to your folder. Terminal rubes like me do it like this:\n\n Terminal rube changing directories\n\nThen run the command:\n\nnpm install\n\nAfter you\u2019ve run that command, a new folder called node_modules will show up in your project.\n\n Example of node_modules folder\n\nThe other files you see there, README.md and LICENSE are there because I\u2019m going to put this project on GitHub and that\u2019s just standard fare there.\n\nThe last installation step is to install the Grunt CLI (command line interface). That\u2019s what makes the grunt command in the terminal work. Without it, typing grunt will net you a \u201cCommand Not Found\u201d-style error. It is a separate installation for efficiency reasons. Otherwise, if you had ten projects you\u2019d have ten copies of Grunt CLI.\n\nThis is a one-liner again. Just run this command in the terminal:\n\nnpm install -g grunt-cli\n\nYou should close and reopen the terminal as well. That\u2019s a generic good practice to make sure things are working right. Kinda like restarting your computer after you install a new application was in the olden days.\n\nLet\u2019s make Grunt concatenate some files\n\nPerhaps in our project there are three separate JavaScript files:\n\n\n\tjquery.js \u2013 The library we are using.\n\tcarousel.js \u2013 A jQuery plug-in we are using.\n\tglobal.js \u2013 Our authored JavaScript file where we configure and call the plug-in.\n\n\nIn production, we would concatenate all those files together for performance reasons (one request is better than three). We need to tell Grunt to do this for us.\n\nBut wait. Grunt actually doesn\u2019t do anything all by itself. Remember Grunt is a task runner. The tasks themselves we will need to add. We actually haven\u2019t set up Grunt to do anything yet, so let\u2019s do that.\n\nThe official Grunt plug-in for concatenating files is grunt-contrib-concat. You can read about it on GitHub if you want, but all you have to do to use it on your project is to run this command from the terminal (it will henceforth go without saying that you need to run the given commands from your project\u2019s root folder):\n\nnpm install grunt-contrib-concat --save-dev\n\nA neat thing about doing it this way: your package.json file will automatically be updated to include this new dependency. Open it up and check it out. You\u2019ll see a new line:\n\n\"grunt-contrib-concat\": \"~0.3.0\"\n\nNow we\u2019re ready to use it. To use it we need to start configuring Grunt and telling it what to do.\n\nYou tell Grunt what to do via a configuration file named Gruntfile.js2\n\nJust like our package.json file, our Gruntfile.js has a very special format that must be just right. I wouldn\u2019t worry about what every word of this means. Just check out the format:\n\nmodule.exports = function(grunt) {\n\n    // 1. All configuration goes here \n    grunt.initConfig({\n        pkg: grunt.file.readJSON('package.json'),\n\n        concat: {\n            // 2. Configuration for concatinating files goes here.\n        }\n\n    });\n\n    // 3. Where we tell Grunt we plan to use this plug-in.\n    grunt.loadNpmTasks('grunt-contrib-concat');\n\n    // 4. Where we tell Grunt what to do when we type \"grunt\" into the terminal.\n    grunt.registerTask('default', ['concat']);\n\n};\n\nNow we need to create that configuration. The documentation can be overwhelming. Let\u2019s focus just on the very simple usage example.\n\nRemember, we have three JavaScript files we\u2019re trying to concatenate. We\u2019ll list file paths to them under src in an array of file paths (as quoted strings) and then we\u2019ll list a destination file as dest. The destination file doesn\u2019t have to exist yet. It will be created when this task runs and squishes all the files together.\n\nBoth our jquery.js and carousel.js files are libraries. We most likely won\u2019t be touching them. So, for organization, we\u2019ll keep them in a /js/libs/ folder. Our global.js file is where we write our own code, so that will be right in the /js/ folder. Now let\u2019s tell Grunt to find all those files and squish them together into a single file named production.js, named that way to indicate it is for use on our real live website.\n\nconcat: {   \n    dist: {\n        src: [\n            'js/libs/*.js', // All JS in the libs folder\n            'js/global.js'  // This specific file\n        ],\n        dest: 'js/build/production.js',\n    }\n}\n\nNote: throughout this article there will be little chunks of configuration code like above. The intention is to focus in on the important bits, but it can be confusing at first to see how a particular chunk fits into the larger file. If you ever get confused and need more context, refer to the complete file.\n\nWith that concat configuration in place, head over to the terminal, run the command:\n\ngrunt\n\nand watch it happen! production.js will be created and will be a perfect concatenation of our three files. This was a big aha! moment for me. Feel the power course through your veins. Let\u2019s do more things!\n\nLet\u2019s make Grunt minify that JavaScript\n\nWe have so much prep work done now, adding new tasks for Grunt to run is relatively easy. We just need to:\n\n\n\tFind a Grunt plug-in to do what we want\n\tLearn the configuration style of that plug-in\n\tWrite that configuration to work with our project\n\n\nThe official plug-in for minifying code is grunt-contrib-uglify. Just like we did last time, we just run an NPM command to install it:\n\nnpm install grunt-contrib-uglify --save-dev\n\nThen we alter our Gruntfile.js to load the plug-in:\n\ngrunt.loadNpmTasks('grunt-contrib-uglify');\n\nThen we configure it:\n\nuglify: {\n    build: {\n        src: 'js/build/production.js',\n        dest: 'js/build/production.min.js'\n    }\n}\n\nLet\u2019s update that default task to also run minification:\n\ngrunt.registerTask('default', ['concat', 'uglify']);\n\nSuper-similar to the concatenation set-up, right?\n\nRun grunt at the terminal and you\u2019ll get some deliciously minified JavaScript:\n\n Minified JavaScript\n\nThat production.min.js file is what we would load up for use in our index.html file.\n\nLet\u2019s make Grunt optimize our images\n\nWe\u2019ve got this down pat now. Let\u2019s just go through the motions. The official image minification plug-in for Grunt is grunt-contrib-imagemin. Install it:\n\nnpm install grunt-contrib-imagemin --save-dev\n\nRegister it in the Gruntfile.js:\n\ngrunt.loadNpmTasks('grunt-contrib-imagemin');\n\nConfigure it:\n\nimagemin: {\n    dynamic: {\n        files: [{\n            expand: true,\n            cwd: 'images/',\n            src: ['**/*.{png,jpg,gif}'],\n            dest: 'images/build/'\n        }]\n    }\n}\n\nMake sure it runs:\n\ngrunt.registerTask('default', ['concat', 'uglify', 'imagemin']);\n\nRun grunt and watch that gorgeous squishification happen:\n\n Squished images\n\nGotta love performance increases for nearly zero effort.\n\nLet\u2019s get a little bit smarter and automate\n\nWhat we\u2019ve done so far is awesome and incredibly useful. But there are a couple of things we can get smarter on and make things easier on ourselves, as well as Grunt:\n\n\n\tRun these tasks automatically when they should\n\tRun only the tasks needed at the time\n\n\nFor instance:\n\n\n\tConcatenate and minify JavaScript when JavaScript changes\n\tOptimize images when a new image is added or an existing one changes\n\n\nWe can do this by watching files. We can tell Grunt to keep an eye out for changes to specific places and, when changes happen in those places, run specific tasks. Watching happens through the official grunt-contrib-watch plugin.\n\nI\u2019ll let you install it. It is exactly the same process as the last few plug-ins we installed. We configure it by giving watch specific files (or folders, or both) to watch. By watch, I mean monitor for file changes, file deletions or file additions. Then we tell it what tasks we want to run when it detects a change.\n\nWe want to run our concatenation and minification when anything in the /js/ folder changes. When it does, we should run the JavaScript-related tasks. And when things happen elsewhere, we should not run the JavaScript-related tasks, because that would be irrelevant. So:\n\nwatch: {\n    scripts: {\n        files: ['js/*.js'],\n        tasks: ['concat', 'uglify'],\n        options: {\n            spawn: false,\n        },\n    } \n}\n\nFeels pretty comfortable at this point, hey? The only weird bit there is the spawn thing. And you know what? I don\u2019t even really know what that does. From what I understand from the documentation it is the smart default. That\u2019s real-world development. Just leave it alone if it\u2019s working and if it\u2019s not, learn more.\n\nNote: Isn\u2019t it frustrating when something that looks so easy in a tutorial doesn\u2019t seem to work for you? If you can\u2019t get Grunt to run after making a change, it\u2019s very likely to be a syntax error in your Gruntfile.js. That might look like this in the terminal:\n\n Errors running Grunt\n\nUsually Grunt is pretty good about letting you know what happened, so be sure to read the error message. In this case, a syntax error in the form of a missing comma foiled me. Adding the comma allowed it to run.\n\nLet\u2019s make Grunt do our preprocessing\n\nThe last thing on our list from the top of the article is using Sass \u2014 yet another task Grunt is well-suited to run for us. But wait? Isn\u2019t Sass technically in Ruby? Indeed it is. There is a version of Sass that will run in Node and thus not add an additional dependency to our project, but it\u2019s not quite up-to-snuff with the main Ruby project. So, we\u2019ll use the official grunt-contrib-sass plug-in which just assumes you have Sass installed on your machine. If you don\u2019t, follow the command line instructions.\n\nWhat\u2019s neat about Sass is that it can do concatenation and minification all by itself. So for our little project we can just have it compile our main global.scss file:\n\nsass: {\n    dist: {\n        options: {\n            style: 'compressed'\n        },\n        files: {\n            'css/build/global.css': 'css/global.scss'\n        }\n    } \n}\n\nWe wouldn\u2019t want to manually run this task. We already have the watch plug-in installed, so let\u2019s use it! Within the watch configuration, we\u2019ll add another subtask:\n\ncss: {\n    files: ['css/*.scss'],\n    tasks: ['sass'],\n    options: {\n        spawn: false,\n    }\n}\n\nThat\u2019ll do it. Now, every time we change any of our Sass files, the CSS will automaticaly be updated.\n\nLet\u2019s take this one step further (it\u2019s absolutely worth it) and add LiveReload. With LiveReload, you won\u2019t have to go back to your browser and refresh the page. Page refreshes happen automatically and in the case of CSS, new styles are injected without a page refresh (handy for heavily state-based websites).\n\nIt\u2019s very easy to set up, since the LiveReload ability is built into the watch plug-in. We just need to:\n\n\nInstall the browser plug-in\nAdd to the top of the watch configuration:\n. watch: {\n    options: {\n        livereload: true,\n    },\n    scripts: {   \n    /* etc */\n\nRestart the browser and click the LiveReload icon to activate it.\nUpdate some Sass and watch it change the page automatically.\n\n\n Live reloading browser\n\nYum.\n\nPrefer a video?\n\nIf you\u2019re the type that likes to learn by watching, I\u2019ve made a screencast to accompany this article that I\u2019ve published over on CSS-Tricks: First Moments with Grunt\n\nLeveling up\n\nAs you might imagine, there is a lot of leveling up you can do with your build process. It surely could be a full time job in some organizations.\n\nSome hardcore devops nerds might scoff at the simplistic setup we have going here. But I\u2019d advise them to slow their roll. Even what we have done so far is tremendously valuable. And don\u2019t forget this is all free and open source, which is amazing.\n\nYou might level up by adding more useful tasks:\n\n\n\tRunning your CSS through Autoprefixer (A+ Would recommend) instead of a preprocessor add-ons.\n\tWriting and running JavaScript unit tests (example: Jasmine).\n\tBuild your image sprites and SVG icons automatically (example: Grunticon).\n\tStart a server, so you can link to assets with proper file paths and use services that require a real URL like TypeKit and such, as well as remove the need for other tools that do this, like MAMP.\n\tCheck for code problems with HTML-Inspector, CSS Lint, or JS Hint.\n\tHave new CSS be automatically injected into the browser when it ever changes.\n\tHelp you commit or push to a version control repository like GitHub.\n\tAdd version numbers to your assets (cache busting).\n\tHelp you deploy to a staging or production environment (example: DPLOY).\n\n\nYou might level up by simply understanding more about Grunt itself:\n\n\n\tRead Grunt Boilerplate by Mark McDonnell.\n\tRead Grunt Tips and Tricks by Nicolas Bevacqua.\n\tOrganize your Gruntfile.js by splitting it up into smaller files.\n\tCheck out other people\u2019s and projects\u2019 Gruntfile.js.\n\tLearn more about Grunt by digging into its source and learning about its API.\n\n\nLet\u2019s share\n\nI think some group sharing would be a nice way to wrap this up. If you are installing Grunt for the first time (or remember doing that), be especially mindful of little frustrating things you experience(d) but work(ed) through. Those are the things we should share in the comments here. That way we have this safe place and useful resource for working through those confusing moments without the embarrassment. We\u2019re all in this thing together!\n\n \n\n1 Maybe someday someone will make a beautiful Grunt app for your operating system of choice. But I\u2019m not sure that day will come. The configuration of the plug-ins is the important part of using Grunt. Each plug-in is a bit different, depending on what it does. That means a uniquely considered UI for every single plug-in, which is a long shot.\n\nPerhaps a decent middleground is this Grunt DevTools Chrome add-on.\n\n2 Gruntfile.js is often referred to as Gruntfile in documentation and examples. Don\u2019t literally name it Gruntfile \u2014 it won\u2019t work.", "year": "2013", "author": "Chris Coyier", "author_slug": "chriscoyier", "published": "2013-12-11T00:00:00+00:00", "url": "https://24ways.org/2013/grunt-is-not-weird-and-hard/", "topic": "code"}