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Web typography: a refresher and history

Many designers still think in px first when creating baseline styles. But we know intellectually that various relative typography approaches are better suited to our medium in all its complexity. Better for accessibility. Better for avoiding bizarre typographic disasters linked to user preference settings, device limitations, and the unforeseen ways our overwrought styles can interact with one another.

As I contemplate a long-overdue redesign of my own site, it’s worth taking a refreshing dip into what we’ve learned about web typography over the past 20+ years. From the pages of (where else?) A List Apart:

Bojan Mihelac: “Power to the People: Relative Font Sizes” (2004)

An early and simple creative solution for text resizing that respects users’ choices and also gives them an additional option for resizing despite the limitations of some of the most popular browsers of the day. Presented for its historical importance, and not as a how-to for today. https://alistapart.com/article/relafont/

Lawrence Carvalho & Christian Heilmann: “Text-Resize Detection” (2006)

Detect your visitors’ initial font size setting, and find out when they increase or decrease the font size. With this knowledge, you can create a set of stylesheets that adapt your pages to the users’ chosen font sizes, preventing overlapping elements and other usability and design disasters. Presented for its historical importance as an insight into the complex dancing we’ve done in the past to ensure readability. https://alistapart.com/article/fontresizing/

Richard Rutter: “How to Size Text in CSS“ (2007)

Sizing text and line-height in ems, with a percentage specified on the body (and an optional caveat for Safari 2), provides accurate, resizable text across all browsers in common use today. An early move toward more responsive type and away from the accessibility problems created by setting text sizes in px in some browsers and devices. https://alistapart.com/article/howtosizetextincss/

Wilson Miner: Setting Type on the Web to a Baseline Grid

The main principle of the baseline grid is that the bottom of every line of text (the baseline) falls on a vertical grid set in even increments all the way down the page. The magical end result is that all the text on your page lines up across all the columns, creating a harmonious vertical rhythm. https://alistapart.com/article/settingtypeontheweb/

Tim Brown: “More Meaningful Typography” (2011)

Introduces modular scales, the golden ratio of readable typography. Delivers accessibility plus aesthetic beauty derived from the math underlying all of creation. https://alistapart.com/article/more-meaningful-typography/

Tim Brown: “What is Typesetting?” (2018)

“We must now practice a universal typography that strives to work for everyone. To start, we need to acknowledge that typography is multidimensionalrelative to each reader, and unequivocally optional.” https://alistapart.com/article/flexible-typesetting/

Keep going…

For more web design community wisdom and web typography history, see Typography & Web Fonts in A List Apart, for people who make websites.

And in the Comments below, please share your favorite resources for creating websites that look great and read beautifully, no matter what technical and human capabilities get thrown at them.

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A List Apart contributors list on Bluesky

I’ve started a Bluesky list featuring some of the brilliant writers, designers, coders, editors, and others who’ve contributed to A List Apart “for people who make websites” from the magazine’s first dawning back in the 19(mumbles). Bluesky fans, grab the list here:

https://bsky.app/profile/did:plc:pgjpl4opnmqxxpb74n4vuabv/lists/3lbozpqe2kq2t

Why only *some* of the contributors? Simple. Several are, sadly, deceased. Many others are likely alive and well but not yet on Bluesky. We can’t unmake death, but we can offer the living networked comradeship and a wee increase in visibility.

So if you’re an A List Apart contributor who’s been thinking of joining Bluesky, consider this an incentive. Note: I’m not a partner in Bluesky, and have nothing to gain from inviting you, beyond the pleasure of your company—be it salty or sweet.

Once you join and have started a profile, ping me and I’ll add you to the list. (I’m zeldman.bsky.social on Bluesky.)

And, hey, if you haven’t yet contributed to A List Apart, your ideas are always welcome.

Online since 1998, A List Apart (ISSN: 1534-0295) explores the design, development, and meaning of web content, with a special focus on web standards and best practices. About the magazine. | Complete list of Authors. | Style Guide. Cheers!

Open-source moderation

“Our online experience doesn’t have to depend on billionaires unilaterally making decisions over what we see.”

Category: A List Apart

From pixels to prose, coding to content.

In search of a digital town square

A personal assessment from February, 2024 of the fractured social network landscape.

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architecture Best practices data development Standards Web Standards

Understanding MARTI: A New Metadata Framework for AI

At its core, MARTI is a bridge. It harmonizes with existing metadata standards like the Content Authenticity InitiativeAnthropic’s Responsible Scaling Policy, and the W3C’s PROV. It anticipates the needs of future standards, laws and practices, such as those proposed by the Coalition for Networked Information (CNI)The EU Artificial Intelligence Act, and Making Data FAIR.—Carrie Bickner

As I study Carrie Bickner’s initial posts on the MARTI Framework she’s developing to manage AI metadata across various disciplines, a familiar feeling steals over me.

It’s similar to how I felt during the early days of The Web Standards Project (WaSP), when a handful of us took on the quarreling browser makers in what seemed a Quixotic attempt to bring consistency, predictability, usability, and accessibility to an already Balkanized web.

Fortunately, at that time, we had two aces up our sleeves: 1., the standards already existed, thanks to the W3C, and 2., the EU and Clinton Administration were suing Microsoft, which meant that the tech press was interested in hearing what we had to say—even if evangelizing web standards had little to do with accusations that Microsoft was abusing its monopoly power.

Once more with feeling: standards from the community

Years after The WaSP declared victory, and browser stagnation had begun to set in, I felt that same thrill vicariously when Eric Meyer, Tantek Çelik, and Matt Mullenweg invented XFN (XHTML Friends Network), inverting the standards creation pyramid so that great ideas were empowered to bubble up from small groups to the wider community, Open Source style, rather than always coming from the top (W3C) down.

I’ve no doubt that microformats were the spark that lit the HTML5 fuse, and we all remember how Steve Jobs used the new markup language to power the first iPhone, initiating the mobile era we now live in.

More about microformats history is available, and you can read Jeremy Keith’s HTML5 For Web Designers online for free—or buy the 2nd Edition, coauthored with Rachel Andrew, directly from Jeremy.

And now I feel those same stirrings, that same excitement about possibilities, as I study Carrie’s first posts about MARTI, an emerging object-oriented metadata framework that can be used to articulate rights-permissions, preservation metadata, provenance, relationships between objects, levels of AI involvement, and contextual information such as usage history and ethical considerations. 

Here’s why I’m excited (and you may be, too).

What do you wanna do tonight, MARTI?

For better or worse, our ideas create our reality. For better or worse, we have atomic power, the web, and social media. There’s no putting these genies back into their bottles. And there’s certainly no shutting down AI, however you may feel about it. Nor need we, as long as we have smart guardrails in place. 

I believe that MARTI—particularly as it promotes responsibility, transparency, and integrity in documenting AI’s role in content creation and curation—has the potential to be one of those guardrails.

Drafted by a career digital librarian, this provisional  metadata framework for human/generative AI output won’t stop bad actors from scraping content without permission. But if it is extended by our community and embraced by the companies and organizations building AI businesses, MARTI has the potential to bring rigor, logic, and connectedness to the field. In Carrie’s words:

The emergence of generative AI marks a transformative moment in human creativity, problem-solving, and knowledge-sharing. MARTI (Metadata for AI Responsibility, Transparency, and Integrity) is a provisional metadata framework designed to navigate this new landscape, offering a standardized yet adaptable approach to understanding, describing, and guiding the outputs of human-AI collaboration—and even those generated autonomously by AI.

At the heart of MARTI lies a robust object model—a modular structure that organizes metadata into reusable, interoperable components. This model ensures transparency, traceability, and ethical integrity, making it the cornerstone of the MARTI framework.

MARTI is not just an architecture for describing AI output, but it offers a way of structuring policy and a possible foundation for a new literacy. This is not about teaching every individual to code or engineer prompts. It’s about empowering humanity to collectively understand, describe, and guide everything we make with AI, ensuring accountability, transparency, and ethical integrity at every step.

MARTI is a framework for creating structured, standardized documentation that is attached to or embedded in AI-generated content. This documentation, or metadata, can be created by people collaborating with AI tools to produce content. Additionally, AI processes themselves can generate and embed metadata into their outputs, ensuring transparency, traceability, and accountability at every stage of content creation.

MARTI also offers a variety of potentially transformative business applications.

Disclaimer: the author is a friend of mine. But then again, so is every other thought leader mentioned in this article (with the exception of the late Steve Jobs, although our lives did touch when he fired me from a project—but that’s another story).

For more MARTI magic, check these posts:

And if you’ve a mind to do so, please pitch in!

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This Web of Ours, Revisited

ONE MONTH and 24 years ago, in “Where Have All the Designers Gone?” (my HTMHell design column for Adobe of March 20, 2000), I discussed the deepening rift between aesthetically focused web designers and those primarily concerned with creating good experiences online:

More and more web designers seem less and less interested in web design.

Over the past 18 months or so, many of the best practitioners in the industry seem to have given up on the notion that a low-bandwidth, less than cutting-edge site is worth making. Much of the stuff they’ve been making instead has been beautiful and inspiring. But if top designers wash their hands of the rest of the Web, whose hands will build it, and whose minds will guide it? The possibilities are frightening.

An Imperfect Medium for Perfectionists

Why were many of the leading graphic designers and studios at the time uninterested in web design? For one thing, designers trained to strive for visual perfection found the web’s unpredictability depressing. The article provided clues to the frustrations of the time:

Good designers spend hours tweaking typography in Illustrator and Photoshop. Then visitors with slow connections turn off images.

Of course, where professionals trained in graphic design saw a distressing lack of control, others glimpsed in the infant technology a tremendous potential to help people, pixel-perfection be damned. To reduce the conflict to a cartoon, you might characterize it as David Carson versus Jakob Nielsen—though doing so would trivialize the concerns of both men. Designers already charged with creating websites found themselves somewhere in the middle—barking themselves hoarse reminding clients and managers that pixel-perfect rendering was not a thing on the web, while arguing with developers who told designers the exact same thing.

Visually inspiring websites like K10k showed that the web could, if approached carefully and joyfully, provide aesthetic delight. But many designers (along with organizations like AIGA) were unaware of those sites at the time.

Us and Them

Another source of tension in the medium in 2000 sprang from the discrepancy between the privileged access designers enjoyed—fast connections, up-to-date browsers and operating systems, high-res monitors (at least for the time) offering thousands of colors—versus the slow modems, aging and underpowered computers, outdated browsers, and limited-color monitors through which most people at the time experienced the web.

Which was the real design? The widescreen, multicolor, grid-based experience? Or the 216-color job with pixelated Windows type, a shallow “fold,” and pictures of headline text that took forever to be seen?

To view your masterpiece the way most users experienced it, and at the syrup-slow speed with which they experienced it, was to have an awakening or a nightmare—depending on your empathy quotient. Some designers began to take usability, accessibility, and performance seriously as part of their jobs; others fled for the predictability of more settled media (such as print).

A New (Old) Hope

My March, 2000 article ended on an upbeat note—and a gentle call to action:

For content sites to attain the credibility and usefulness of print magazines; for entertainment sites to truly entertain; for commerce sites and Web-based applications to function aesthetically as well as technically, the gifts of talented people are needed. We hope to see you among them.

That was my hope in 2000, and, all these years later, it remains my vision for this web of ours. For though the browsers, connections, and hardware have changed substantially over the past 24 years, and though the medium and its practitioners have, to a significant extent, grown the Hell up, beneath the surface, in 2024, many of these same attitudes and conflicts persist. We can do better.

Minus the framesets that formerly contained it, you may read the original text (complete with archaic instructions about 4.0 browsers and JavaScript that broke my heart, but which Adobe’s editors and producers insisted on posting) courtesy of the Wayback Machine.

☞  Hat tip to Andrey Taritsyn for digging up the article, which I had long forgotten.

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The More Things Change… (or: What’s in a Job Title?)

I’m not a “[full-stack] developer,” regardless of what my last job title says.

I’m not even a front-end developer, thanks to the JavaScript–industrial complex.

I’m a front-of-the-front-end developer, but that’s too long.

So, I’m a web designer. And I also specialise in accessibility, design systems, and design.

…Why do I think that this is the best title? Here’s why.

I’m designing for the web. The infinitely flexible web. The web that doesn’t have one screen size, one browser, one operating system, or one device. The web that can be used by anyone, anywhere, on any internet connection, on any device, on any operating system, on any browser, with any screen size. I’m designing with the web. Using the web platform (HTML, CSS, JS, ARIA, etc.), not a bloated harmful abstraction. I have a deep understanding of HTML and its semantics. I love CSS, I know how and when to utilise its many features, and I keep up-to-date as more are added. I have a strong understanding of modern JavaScript and most importantly I know when not to use it.

Front-end development’s identity crisis by Elly Loel

See also:

The Wax and the Wane of the Web (2024): Forget death and taxes. The only certainty on the web is change. Ste Grainer takes a brief look at the history of the web and how it has been constantly reinvented. Then he explores where we are now, and how we can shape the future of the web for the better. – A List Apart

The Cult of the Complex (2018): If we wish to get back to the business of quietly improving people’s lives, one thoughtful interaction at a time, we must rid ourselves of the cult of the complex. Admitting the problem is the first step in solving it. – A List Apart

Dear AIGA, where are the web designers? (2007): For all the brand directors, creative directors, Jungian analysts, and print designers, one rather significant specimen of the profession is missing. – zeldman.com

Standardization and the Open Web (2015): How do web standards become, well, standard? Although they’re often formalized through official standards-making organizations, they can also emerge through popular practice among the developer community. If both sides don’t work together, we risk delaying implementation, stifling creativity, and losing ground to politics and paralysis. Jory Burson sheds light on the historical underpinnings of web standardization processes—and what that means for the future of the open web. – A List Apart

The profession that dare not speak its name (2007): “No one has tried to measure web design because web design has been a hidden profession.” – zeldman.com

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Accessibility Advocacy architecture Authoring Best practices development ethics industry Performance Platforms Responsibility Standards State of the Web Usability User Experience UX W3C Web Standards

CAPTCHA excludes disabled web users

What’s widely used, no longer particularly effective, and makes web content inaccessible to many people with disabilities? It’s our old friend CAPTCHA! In a group note dated 16 December 2021, the W3C explains how CAPTCHA excludes disabled users, and suggests alternatives which may be kinder and more reliable:

Various approaches have been employed over many years to distinguish human users of web sites from robots. The traditional CAPTCHA approach asking users to identify obscured text in an image remains common, but other approaches have emerged. All interactive approaches require users to perform a task believed to be relatively easy for humans but difficult for robots. Unfortunately the very nature of the interactive task inherently excludes many people with disabilities, resulting in a denial of service to these users. Research findings also indicate that many popular CAPTCHA techniques are no longer particularly effective or secure, further complicating the challenge of providing services secured from robotic intrusion yet accessible to people with disabilities. This document examines a number of approaches that allow systems to test for human users and the extent to which these approaches adequately accommodate people with disabilities, including recent non-interactive and tokenized approaches. We have grouped these approaches by two category classifications: Stand-Alone Approaches that can be deployed on a web host without engaging the services of unrelated third parties and Multi-Party Approaches that engage the services of an unrelated third party.

W3C: Inaccessibility of CAPTCHA: Alternatives to Visual Turing Tests on the Web

We can do better!

Tell your friends. Tell your boss. Tell your clients.

Tip o’ the blue beanie to Adrian Roselli.

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Saving Your Web Workflows with Prototyping

Our static tools and linear workflows aren’t the right fit for the flexible, diverse reality of today’s Web. Making prototyping a central element of your workflows will radically change how you approach problem solution and save you a lot of headaches – and money. But most importantly, you will be creating the right products and features in a way that resonates with the true nature of the Web. A discourse on processes, flexibility, the Web as a material, and how we build things.

Saving Your Web Workflows with Prototyping – Matthias Ott
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The Cult of the Complex

Illustration by Kevin Cornell.
“IN AN INDUSTRY that extols innovation over customer satisfaction, and prefers algorithm to human judgement (forgetting that every algorithm has human bias in its DNA), perhaps it should not surprise us that toolchains have replaced know-how.”

Our addiction to complicated toolchains and overbuilt frameworks is out of control. Web-making has lately become something of a dick-measuring competition. It needn’t stay that way.

If we wish to get back to the business of quietly improving people’s lives one thoughtful interaction at a time, we must rid ourselves of the cult of the complex. For more about why and how, see my new article, “The Cult of the Complex,” in A List Apart, for people who make websites.

 

 

 

Illustration by Kevin Cornell

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business Career Design development

A beginning consultant brings skills, an experienced consultant brings value.

A beginning consultant brings skills, an experienced consultant brings value.

Early in a good career, you establish that you write the best code on your team, have the deftest touch in UI design, produce more good work more quickly than others.

You’re the person who resolves disputes about which typeface was used on an old poster. Or who knows more frameworks, has used more tools. Or who can fix the server when everyone else around you is panicking. Or all the above.

God is in the details. You sweat them.

You are incredibly skilled and you work to stay that way. You read design books and blog posts when your friends are out drinking or home watching TV. You keep a list of things to fix on your company’s website, and you make the changes whether anyone instructs you to or not.

Often, you make a site more accessible, or more performant, or easier to understand not only without being asked, but without being thanked or acknowledged. You do good in secret. You quietly make things better. You inspire good colleagues to learn more and work harder. Lazy or less talented colleagues secretly hate you. You’re the tops. You got mad skillz.

But the organization doesn’t treat you like the incredibly motivated, supremely talented, highly intelligent, deeply passionate professional you are.

The organization rewards something different. The organization looks for leadership, not among the most skilled, but among the most strategic.

The tragedy of great designers and developers

The tragedy of great designers and developers is when they get promoted to positions of leadership where they can no longer design or develop. And the other tragedy is when they don’t.

You can stay an ace coder, a design whiz, a brilliant copywriter well into your 40s and remain a valuable, employable team member. You will not go hungry. You will not be without work.

(By your 50s, finding jobs becomes tougher no matter how brilliant and experienced you may be, due to capitalism’s preference for hiring younger people and paying them less, but the multidimensional, interlocking problems of agism and economic injustice exceed the scope of this little commentary. Typically the solution to prematurely aging out of the market, even though you have much to contribute, is to go off on your own—hence the plethora of consultants in their late 40s. But here again, merely having skills will not be enough.)

To survive as an independent consultant at any age, and to remain meaningfully employable in digital design, you must bring something different to the table. You must bring value.

You must be able to demonstrate, in every interaction with management, how your thinking will help the organization recruit new members, appeal to a new demographic, better assist its customers, increase its earnings.

Consulting in a nutshell

As a professional with skills, you are a rock star to other designers and coders.

As a professional who brings value, you are a star to decision makers.

Both paths are valid—and, truthfully, a great designer, writer, or coder adds incredible value to everything she touches. But the value she adds may not be one management deeply understands. Just as developers understand development, managers understand management.

If you can speak that language—if you can translate the precocious gifts of your early, skills-based career into a seasoned argot of commerce—you can keep working, keep feeding yourself and your family, keep contributing meaningfully to society and your profession.

###

Also published at Medium.

studio.zeldman is open for business. Follow me @zeldman.

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Best practices better-know-a-speaker client services Content First Design Designers development industry Interviews Publications Publishing State of the Web The Big Web Show The Profession Web Design Web Design History Web Standards writing

Big Web Show ? 150: Giant Paradigm Shifts and Other Delights With Brad Frost

Brad Frost, photographed at An Event Apart by Jeffrey Zeldman.

BOY, was this show overdue. For the first time ever on The Big Web Show, I chat with my friend, front-end developer extraordinaire Brad Frost, author of the spanking new book, Atomic Design.

We have fun. We go way over time. We kept talking after the show stopped. There was just so much to discuss—including Pattern Lab and style guides, being there for the iPad launch, working with big brands, how to say no and make the client happy you said it, avoiding antipatterns, mobile versus “the real web” (or the way we saw things in 2009), dressing for success, contributing to open source projects, building a community, the early days of Brad’s career, and that new book of his.

Listen to Episode ? 150 on the 5by5 network, or subscribe via iTunes. And pick up Brad’s book before they sell out!

Sponsored by Braintree and Incapsula.

Brad Frost URLS

@brad_frost
http://bradfrost.com
http://patternlab.io/
http://bradfrost.com/blog/
http://bradfrost.github.com/this-is-responsive/
http://wtfmobileweb.com/
http://deathtobullshit.com/
http://wtfqrcodes.com/
http://bradfrost.com/music
http://bradfrost.com/art

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Ten Years Ago on the Web

2006 DOESN’T seem forever ago until I remember that we were tracking IE7 bugsworrying about the RSS feed validator, and viewing Drupal as an accessibility-and-web-standards-positive platform, at the time. Pundits were claiming bad design was good for the web (just as some still do). Joe Clark was critiquing WCAG 2. “An Inconvenient Truth” was playing in theaters, and many folks were surprised to learn that climate change was a thing.

I was writing the second edition of Designing With Web Standards. My daughter, who is about to turn twelve, was about to turn two. My dad suffered a heart attack. (Relax! Ten years later, he is still around and healthy.) A List Apart had just added a job board. “The revolution will be salaried,” we trumpeted.

Preparing for An Event Apart Atlanta, An Event Apart NYC, and An Event Apart Chicago (sponsored by Jewelboxing! RIP) consumed much of my time and energy. Attendees told us these were good shows, and they were, but you would not recognize them as AEA events today—they were much more homespun. “Hey, kids, let’s put on a show!” we used to joke. “My mom will sew the costumes and my dad will build the sets.” (It’s a quotation from a 1940s Andy Hardy movie, not a reflection of our personal views about gender roles.)

Jim Coudal, Jason Fried and I had just launched The Deck, an experiment in unobtrusive, discreet web advertising. Over the next ten years, the ad industry pointedly ignored our experiment, in favor of user tracking, popups, and other anti-patterns. Not entirely coincidentally, my studio had just redesigned the website of Advertising Age, the leading journal of the advertising profession.

Other sites we designed that year included Dictionary.com and Gnu Foods. We also worked on Ma.gnolia, a social bookmarking tool with well-thought-out features like Saved Copies (so you never lost a web page, even if it moved or went offline), Bookmark Ratings, Bookmark Privacy, and Groups. We designed the product for our client and developed many of its features. Rest in peace.

I was reading Adam Greenfield’s Everyware: The Dawning Age of Ubiquitous Computing, a delightfully written text that anticipated and suggested design rules and thinking for our present Internet of Things. It’s a fine book, and one I helped Adam bring to a good publisher. (Clearly, I was itching to break into publishing myself, which I would do with two partners a year or two afterwards.)

In short, it was a year like any other on this wonderful web of ours—full of sound and fury, true, but also rife with innovation and delight.


As part of An Event Apart’s A Decade Apart celebration—commemorating our first ten years as a design and development conference—we asked people we know and love what they were doing professionally ten years ago, in 2006. If you missed parts onetwothree, or four, have a look back.

 

 

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art direction Bandwidth Best practices Brands CSS CSS3 Design Designers development Fonts Real type on the web software State of the Web Typekit Typography Web Design Web Standards webfonts Websites

A Helvetica For Readers

A Helvetica for readers–introducing Acumin.

ACUMIN by Robert Slimbach is a new type family from Adobe that does for book (and ebook) designers what Helvetica has always done for graphic designers. Namely, it provides a robust yet water-neutral sans-serif, in a full suite of weights and widths. And unlike the classic pressing of Helvetica that comes on everyone’s computers—but like Helvetica Neue—Acumin contains real italics for every weight and width.

Reading about the design challenges Slimbach set himself (and met) helps you appreciate this new type system, whose virtues are initially all too easy to overlook, because Acumin so successfully avoids bringing a personality to the table. Enjoying Acumin is like developing a taste for exceptionally good water.

Nick Sherman designed the website for Adobe, and its subtly brilliant features are as easy to miss at first look as Acumin’s. For starters, the style grid on the intro page dynamically chooses words to fit the column based on the viewport size. Resize your browser and you’ll see how the words change to fill the space.

Heaps of behind-the-scenes calculation allow the page to load all 90 (!) fonts without breaking your pipes or the internet. Developer Bram Stein is the wizard behind the page’s performance.

Nick uses progressively enhanced CSS3 Columns to create his responsive multi-column layout, incorporating subtle tricks like switching to a condensed font when the multi-column layout shrinks below a certain size. (This is something A List Apart used to do as well; we stopped because of performance concerns.) In browsers like IE9 and earlier, which do not support CSS3 Multiple Column specification, the layout defaults to a quite readable single column. Nick adds:

It’s the first time I’ve used responsive CSS columns for a real-world project. This was both frustrating and fun because the CSS properties for controlling widows and orphans are very far behind what’s possible in InDesign, etc. It also required more thinking about vertical media queries to prevent a situation where the user would have to scroll up and down to get from the bottom of one column to the top of the next. If the viewport is too short to allow for easy reading across columns, it stays as a single column.

He describes the challenges of creating the site’s preview tool thusly:

We had to do some behind the scenes trickery in order to get the sliders to work for changing widths and weights. It’s a good way to allow people to type their own text and get a feeling for how the family can be used as a system for body text and headlines (unlike Helvetica, which is more limited to the middle range of sizes). Chris Lewis helped out a lot with getting this to work. It even works on a phone!

Book designers have long had access to great serif fonts dripping with character that were ideal for setting long passages of text. Now they have a well-made sans serif that’s as sturdy yet self-effacing as a waiter at a great restaurant. Congratulations to Robert Slimbach, Adobe, and the designers and developers mentioned or interviewed here. I look forward to seeing if Acumin makes it into new website designs (perhaps sharing some of Proxima Nova‘s lunch), especially among mature designers focused on creating readable experiences. And I pray Acumin makes its way into the next generation of ebook readers.

(Just me? In both iBooks and Kindle, I’m continually changing typefaces after reading any book for any period of time. All the current faces just call too much attention to themselves, making me aware that I am scanning text—which is rather like making filmgoers aware that they are watching projected images just when they should be losing themselves in the story.)

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An Event Apart business Code Design development jobs

Front-end devs, An Event Apart is hiring.

An Event ApartAN EVENT APART, the design conference for people who make websites, seeks a freelance, part-time, front-end developer to work with our web designer, creative director, and project manager on ongoing design and UX improvements to our site at aneventapart.com.

You have a mastery of HTML, CSS (including Flexbox), and JavaScript. You’re a thinker who cares about good user experience and knows that the smallest design details matter. Progressive enhancement is your bread; mobile-first responsive design is your butter. Sweating web performance details is your idea of Saturday night; arguing the semantics of blockquote, your idea of Heaven.

For details, and to apply, see our listing on weworkremotely.com.

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You’re welcome: cutting the mustard then and now.

EVERY TIME I hear a young web developer cite the BBC’s forward-thinking practice of “cutting the mustard,” by which they mean testing a receiving web device for certain capabilities before serving content, I remember when my team and I at The Web Standards Project invented that very idea. It’s a million web years ago, by which I mean fourteenish human years ago, so nobody remembers but me and some other long toothed grayhairs, plus a few readers of the first edition of Designing With Web Standards. But I like you, so I will tell you the story.

Back then in those dark times, it was common practice for web developers to create four or more versions of the same website—one for each browser then in wide use. It was also a typical (and complementary) practice to send server-side queries to figure out which browser was about to access a site’s content, and then send the person using that browser to the site version that was configured for her browser’s particular quirks, proprietary tags, and standards compliance failings.

The practice was called “browser detection.” Nobody but some accessibility advocates had ever questioned it—and the go-go dot-com era had no time or care for those folks.

But we at The Web Standards Project turned everything on its head. We said browsers should support the same standards instead of competing to invent new tags and scripting languages. We said designers, developers, and content folks should create one site that was accessible to everyone. In a world like that, you wouldn’t need browser detection, because every browser and device that could read HTML would be able to feast on the meat of your site. (And you’d have more meat to share, because you’d spend your time creating content instead of crafting multiple versions of the same site.)

To hasten that world’s arrival, in 2001 we launched a browser upgrade campaign. Those who participated (example participant here) employed our code and content to send their users the message that relatively standards-compliant browsers were available for every platform, and inviting them to try one. Because if more people used relatively standards-compliant browsers, then we could urge more designers and developers to create their sites with standards (instead of quirks). And as more designers and developers did that, they’d bump against still-unsolved standards compliance conundrums, enabling us to persuade browser makers to improve their standards compliance in those specific areas. Bit by bit, stone by stone, this edifice we could, and would, erect.

The code core of the 2001 browser upgrade campaign was the first instance of capability detection in place of browser detection. Here’s how it worked. After creating a valid web page, you’d insert this script in the head of your document or somewhere in your global JavaScript file:

if (!document.getElementById) {
window.location =
"http://www.webstandards.org/upgrade/"
}

We even provided details for various flavors of markup. In HTML 4 or XHTML 1 Transitional documents, it looked like this:

<script type="text/javascript" language="javascript">
<!-- //
if (!document.getElementById) {
window.location =
"http://www.webstandards.org/upgrade/"
}
// -->
</script>

In STRICT documents, you’d either use a global .js file, or insert this:

<script type="text/javascript">
<!-- //
if (!document.getElementById) {
window.location =
"http://www.webstandards.org/upgrade/"
}
// -->

You could also just as easily send visitors to an upgrade page on your own site:

if (!document.getElementById) {
window.location =
"http://www.yourdomain.com/yourpage.html"
}

Non-WaSP members (at the time) J. David Eisenberg, Tantek Çelik, and Jim Heid contributed technical advice and moral support to the effort. WaSP sysadmin Steven Champeon, the inventor of progressive enhancement, made it all work—under protest, bless him. (Steve correctly believed that all web content should always be available to all people and devices; therefore, in principle, he disliked the upgrade campaign, even though its double purpose was to hasten the arrival of truly standards-compliant browsers and to change front-end design and development from a disrespected world of hacks to a sustainable and professional craft. ((See what I did there? I’m still respectfully arguing with Steve in my head.)))

Discovering rudimentary DOM awareness or its absence in this fashion was the first time web developers had tested for capabilities instead of chasing the dragon in a perpetual and futile attempt to test for every possible browser flavor and version number. It was the grandparent, if you will, of today’s “cutting the mustard.” And it is analogous as well to the sensible responsive design practice of setting breakpoints for the content, instead of trying to set appropriate breakpoints for every possible device out there (including all the ones that haven’t been invented yet).

Which reminds us that the whole point of web standards was and is forward compatibility—to create content that will work not only in yesterday’s and today’s browsers and devices, but in all the wonderful devices that have yet to be invented, and for all the people of the world. You’re welcome.

—CHICAGO, Westin Chicago River Hotel, 1 September 2015


Hat tip: John Morrison

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On Web Performance

Lara Hogan

GET READY for Lara Hogan, author of Designing For Performance, as she shares pretty much about everything you’ll need to know to design optimally performant front-end web experiences. It’s one of twelve essential sessions that make An Event Apart Austin 2015 the Southwest’s don’t-miss web design and development event of 2015.