design3

Recommendations

Info

136 The Principles of Beautiful Web Design Take a look at the Garamond text in Figure 4.15. Garamond is an old-style serif font. Old-style serif fonts are adapted from the brushstrokes of Italian scribes and can be recognized both by the smooth transitions between thick and thin strokes, and by their rounded serif edges. When I see an old-style serif font, it exudes historic, handcrafted charm. At the same time, fonts like Garamond are extremely versatile: they’re not so old-fashioned that they're unusable in modern applications. The second font in Figure 4.15 is Baskerville, a transitional serif font. The curved angle that connects the terminal of the stroke to the serif is known as a bracket. The brackets of transitional serif fonts are rounded, but Figure 4.15. Serif categories the edges of the serifs are squared off. The simple addition of 90-degree angles and perfectly straight lines gives this category of font a more modern and mechanical voice. This category of serif fonts is known as transitional because it provides a transition between old-style and modern serif fonts. The third font, Didot, is a modern serif font. Modern serif fonts provide a large amount of contrast between the thick and thin strokes, and their serifs are often completely unbracketed. Modern serif fonts were introduced during the Industrial Revolution as a radical alternative to the transitional serif style. Today, these fonts have an association with elegance, sophistication, and fashion. They represent timelessness more than cutting-edge modernity. Because of their fine line details, modern serif fonts are really only suitable for use in headlines. The consistent use of Italian Didot in Vogue magazine, 16 as seen in Figure 4.16, helped to establish both the font and the magazine as icons of style. Other famous magazines that use modern serif font faces for their mastheads include Brides, W, Elle, Parents, Seventeen, and Harper’s Bazaar. They’re fairly uncommon in web design, but are certainly a classy choice if high style is what you’re aiming for. 16 http://www.vogue.com/
Typography 137 Figure 4.16. Modern serifs lending a classy feel to Vogue In the later part of the 1800s, as advertising, posters, and flyers became more common, a bolder variation of modern serif fonts was needed to catch people’s attention. It was at this time that slab serif fonts were first introduced. Slab serif faces like Rockwell have an industrial but friendly voice that’s far less snooty than modern serifs, and even more contemporary. Because most slab serifs were designed to be readable from a distance, they make for excellent headlines and have been very popular on the Web lately. Figure 4.17 shows a couple of beautiful examples of slab serifs in action. On the left The Sew Weekly’s 17 logo features a typeface called Brosse. On the right we have The Mid-century Modernist, 18 which uses Rockwell Light for its logo. I personally think that slab serifs tend to feel masculine. The Sew Weekly is a beautiful contradiction to that notion, and evidence that you can go against convention when choosing fonts. 17 http://www.sewweekly.com/ 18 http://midcenturymodernist.com/
Page 1:
Summary of Contents Preface . . . .
Page 4 and 5:
iv The Principles of Beautiful Web
Page 7 and 8:
Table of Contents Preface . . . . .
Page 9 and 10:
ix Color Scheme Designer 3 . . . .
Page 11:
xi Creative Image Treatments . . .
Page 14 and 15:
xiv bathroom with the work that we
Page 16 and 17:
xvi Tips, Notes, and Warnings Hey,
Page 18 and 19:
2 The Principles of Beautiful Web D
Page 20 and 21:
Page 22 and 23:
Page 24 and 25:
Page 26 and 27:
10 The Principles of Beautiful Web
Page 28 and 29:
Page 30 and 31:
Page 32 and 33:
Page 34 and 35:
Page 36 and 37:
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Page 46 and 47:
Page 48 and 49:
Page 50 and 51:
Page 52 and 53:
Page 54 and 55:
Page 56 and 57:
Page 58 and 59:
Page 60 and 61:
Page 62 and 63:
Page 65 and 66:
2 Chapter Color Whether you’re de
Page 67 and 68:
Color 51 reason, it’s often used
Page 69 and 70:
Color 53 Figure 2.5. Calming stones
Page 71 and 72:
Color 55 Figure 2.7. These wind tur
Page 73 and 74:
Color 57 Chromatic Value The measur
Page 75 and 76:
Color 59 Figure 2.12. The tradition
Page 77 and 78:
Color 61 thick that you’re unable
Page 79 and 80:
Color 63 Another example of saturat
Page 81 and 82:
Color 65 An Analogous Color Scheme
Page 83 and 84:
Color 67 Figure 2.22. Blinksale’s
Page 85 and 86:
Color 69 put off by the stark contr
Page 87 and 88:
Color 71 Figure 2.27. Cross Cross C
Page 89 and 90:
Color 73 Figure 2.30. The Bulls+Arr
Page 91 and 92:
Color 75 Figure 2.34. The adventuro
Page 93 and 94:
Color 77 Table 2.1. Counting from 1
Page 95 and 96:
Color 79 Scheme Designer 3 works. U
Page 97 and 98:
Color 81 Figure 2.39. Pictaculous C
Page 99 and 100:
Color 83 Figure 2.41. A mood board
Page 101 and 102: 3 Chapter Texture There are many we
Page 103 and 104: Texture 87 Figure 3.2. The A-Team b
Page 105 and 106: Texture 89 Figure 3.5. Geometric an
Page 107 and 108: Texture 91 Rounded Corners So we’
Page 109 and 110: Texture 93 Figure 3.10. Ithaca Even
Page 111 and 112: Texture 95 Figure 3.12. Speed Kids
Page 113 and 114: Texture 97 Figure 3.14. Perspective
Page 115 and 116: Texture 99 Figure 3.17. A clear and
Page 117 and 118: Texture 101 Although repetitious ba
Page 119 and 120: Texture 103 declaration background-
Page 121 and 122: Texture 105 Figure 3.25. Three repe
Page 123 and 124: Texture 107 Figure 3.27. Team Fanny
Page 125 and 126: Texture 109 said, just because you
Page 127 and 128: Texture 111 This site certainly fal
Page 129 and 130: Texture 113 Another notable example
Page 131 and 132: Texture 115 Figure 3.36. Minimalism
Page 133: Texture 117 Figure 3.38. The site d
Page 136 and 137: 120 The Principles of Beautiful Web
Page 202 and 203:
Page 204 and 205:
Page 206:
show all

design3

Create successful ePaper yourself

Delete template?

Save as template?