WEB STANDARDS CREATIVITY

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The process Figure 7-1. Times New Roman (top) vs. Georgia (bottom) Typically, when a digital typeface is created, its printed form takes priority. Outlines of the type’s shapes are drawn first, and bitmap versions of small text sizes (for clarity on the screen, in case it should wind up there) are drawn based on those outlines. In other words, a resolution-independent design is retrofitted into an extremely low resolution. Results vary, but in many cases, small text sizes are all but illegible on the screen. With Georgia, Carter decided to reverse the process. Since this typeface was intended primarily for the screen, the bitmaps were drawn first (at 8- to 12-point sizes), and then the outlines were drawn to accommodate them (Figure 7-2). This resulted in an unprecedented elegant clarity for a screen-based serif face, a classification notorious for its illegibility. The right man for the job Figure 7-2. Georgia outlines vs. Georgia bitmap It was no fluke that Matthew Carter was chosen for the task. The son of an acclaimed type designer and printing historian, he began cutting original designs and revivals of classic typefaces in metal in the late 1950s, before going on to cofound the well-known Bitstream and Carter & Cone digital type foundries. Based on his decades of experience, impressive list of esteemed clients (including Time Magazine, The New York Times, and The Washington Post), and body of work (most notably Bell Centennial, and, later, the screen-based Verdana), few—if any—people could claim to be more qualified to design a timeless, legible typeface, intended for the screen but still rooted in tradition. OK, now that you’ve got a handle on how, why, and when Georgia came about, you’re ready to put it to use, with a practical example. Let’s build something! chapter 7 Bridging the Type Divide: Classic Typography with CSS 159
160 A page for Poe In order to demonstrate some possibilities, I’ve put together a little homepage for the original master of the macabre, Edgar Allan Poe (Figure 7-3). The basic layout is made up of four columns of approximately equal width. The two center columns compose the main content area, which is flanked by a navigation column on the left and a sidebar column on the right. The header and footer span the full width of the four columns. Figure 7-3. The sample project
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CAMERON ADAMS ~ MARK BOULTON ~ ANDY
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Web Standards Creativity: Innovatio
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Contents About the Technical Review
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PART 2: EFFECTIVE PRINT TECHNIQUES
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About the Technical Reviewer Molly
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Mark Boulton I’d like to thank Kh
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Getting Creative with Web Standards
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Figure 5. The Zen Garden is still g
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Layout Magic Welcome to Part 1 of o
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Before starting Erskine Design in 2
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6 Figure 1-2. The completed Dirty P
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Dirty pretty presentation When buil
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Background Next, we apply the main
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Finally, the main content selector
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The markup is as follows. Note that
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Unless you study the end result clo
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Tables Descendant selectors are ess
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These very simple rules, and the fa
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Conclusion Of course, building the
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Dan Rubin spends his days blending
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Figure 2-1. On the left, the origin
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The CMS challenge It doesn’t take
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The next step was spending some tim
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Videos Photos Extras Links Forum St
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Ever find yourself getting lost in
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z-index:100; left:29px; top:39px; m
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By looking at the markup generated
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Creating the illusion of vertical t
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The first argument defines the CSS
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Figure 2-9. Before (right) and afte
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Such a #teaser After styling the #t
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When time is of the essence, hacks
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Ethan Marcotte has been designing a
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Getting started The article templat
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Structuring the CSS Looking above t
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Adding a layer of style OK, enough
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A quick preview of our code at this
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For our narrow, 190-pixel-wide righ
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Strictly speaking, these class name
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Our column’s “background” wil
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Figure 3-14. The exact same templat
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Figure 3-17. The anatomy of our nar
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So there we have it: a single class
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Figure 3-21. The text size can be i
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anchor.setAttribute("href", "javasc
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78 4 Designing for Outside the Box
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80 Worries? “Oh baby, what’s th
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82 Stop worrying, start with markup
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84 A third-level heading proudly an
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86 Adding divisions from the conten
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88 With the elements and appropriat
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90 Styling WorrySome.net Whereas ma
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92 Take a peek at how your design i
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94 The final result of your column-
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96 Each of the paragraphs of introd
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98 While floats and image replaceme
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100 Well, maybe you’re not quite
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102 This will be followed by a spec
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104 The result of this is that your
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106 We'll give you another look at
Page 125 and 126: 108 5 Creative Use of PNG Transpare
Page 127 and 128: 110 PNG, GIF, and JPEG The PNG imag
Page 129 and 130: 112 The image that needs to work on
Page 131 and 132: 114 Wilson includes his transparent
Page 133 and 134: 116 Now I’ll create a 1-by-1-pixe
Page 135 and 136: 118 In another creative example, de
Page 137 and 138: 120 A bit of CSS is then used t
Page 139 and 140: 122 And then the CSS: a.photo-conta
Page 141 and 142: 124 I’ve specified #cc0000
Page 143 and 144: 126 However, I’ve reversed their
Page 145 and 146: 128 var div = document.createElemen
Page 147 and 148: 130 6 Grid Design for the Web mark
Page 149 and 150: 132 What is a grid system? A grid s
Page 151 and 152: 134 Ratios and the canvas Ratios ar
Page 153 and 154: 136 Beginning with the pen I like t
Page 155 and 156: 138 Designing the columns The wiref
Page 157 and 158: 140 This makes 1em roughly 10px (16
Page 159 and 160: 142 The masthead includes several i
Page 161 and 162: 144 Building the CSS I’m at the s
Page 163 and 164: 146 Setting the width of the column
Page 165 and 166: 148 Figure 6-16 shows the masthead
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Page 169 and 170: 152 Issues with the design The proj
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Page 174 and 175: Rob Weychert is a graphic designer,
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Page 180 and 181: Figure 7-5. Fixed-width layout: Hor
Page 182 and 183: Translation Figure 7-9. Final layou
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Page 186 and 187: Figure 7-12. A cohesive text block
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Page 190 and 191: Image replacement But I’m still n
Page 192 and 193: All caps I am quite pleased with my
Page 194 and 195: Small caps There is one more typogr
Page 196 and 197: Figure 7-24. The effort was all wor
Page 198 and 199: DOM Scripting Gems What book on web
Page 200 and 201: Ian Lloyd runs Accessify.com, a sit
Page 202 and 203: Preparing the foundations With a cl
Page 204 and 205: Identifying the sections The basic
Page 206 and 207: The addEvent function primes the we
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Page 212 and 213: It is generally considered bad prac
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Page 218 and 219: Sliding in the code In the proof-of
Page 220 and 221: For the purposes of building on the
Page 222 and 223: Never mind all that—what about sa
Page 225 and 226: 208 9 Creating Dynamic Interfaces U
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210 Different layouts for different
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212 Figure 9-1. The UX Magazine web
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214 Figure 9-3. The White Pages web
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216 Browser size, not resolution Al
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218 There are two major changes bet
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220 return document.documentElement
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222 } else if (typeof target.attach
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224 Figure 9-7 shows the default vi
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226 The markup The high-level struc
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228 if (typeof event.stopPropagatio
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230 Styling with CSS Now that we’
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232 event = window.event; } if (typ
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234 function getPosition(theElement
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236 document.getElementsByTagName("
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238 ghostMarker.marked.appendChild(
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240 Keeping track of changes The te
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10 242 Accessible Sliding Navigatio
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244 The killer feature Admit it. Yo
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246 Accessibility and JavaScript Fo
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248 After the main link is clicked,
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250 Switching between CSS states wi
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252 Adding sliding behaviors Now th
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254 // set the height to a new valu
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256 When using a screen magnifier,
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258 If the user does repeat the “
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260 There may be unforeseen consequ
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262 Croft, Jeff, 109 CSS (Cascading
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264 max-width, 58, 71 @media print,
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266 websites A List Apart, 134 New
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