8 Definitive Web Font Stacks Article A more traditional Garamond-based serif stack: font-family: "Palatino Linotype", Palatino, Palladio, "URW Palladio L", "Book Antiqua", Baskerville, "Bookman Old Style", "Bitstream Charter", "Nimbus Roman No9 L", Garamond, "Apple Garamond", "ITC Garamond Narrow", "New Century Schoolbook", "Century Schoolbook", "Century Schoolbook L", Georgia, serif; The Helvetica/Arial-based sans serif stack: font-family: Frutiger, "Frutiger Linotype", Univers, Calibri, "Gill Sans", "Gill Sans MT", "Myriad Pro", Myriad, "DejaVu Sans Condensed", "Liberation Sans", "Nimbus Sans L", Tahoma, Geneva, "Helvetica Neue", Helvetica, Arial, sans-serif; The Verdana-based sans serif stack: font-family: Corbel, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", "DejaVu Sans", "Bitstream Vera Sans", "Liberation Sans", Verdana, "Verdana Ref", sans-serif; The Trebuchet-based sans serif stack: The heavier “Impact” sans serif stack: The monospace stack: Rationale behind the Stacks
First Impressions Count in Website Design - visual appeal, beauty and aesthetics, halo effect, cognitive perception, webpage judgments of credibility Summary: Web designers have as little as 50 milliseconds to capture the interest of potential customers. Through the halo effect, first impressions can influence subsequent judgments of website credibility and buying decisions. Web users form first impressions of web pages in as little as 50 milliseconds (1/20th of a second), according to Canadian researchers. "My colleagues believed it would be impossible to really see anything in less than 500 milliseconds," Dr. Researchers led by Dr. Lindgaard: "I was really interested to know if these aesthetics judgments were a mere exposure effect. The Halo Effect The speed at which users form value judgments of web pages precludes much cognitive thought. "...the strong impact of the visual appeal of the site seemed to draw attention away from usability problems. Emotion and Cognition There clearly is an interplay between our emotional reaction to a webpage, and our conscious thought process. Sketches versus Photographs in Recognition Speed Dr.
posters | 80 georg staehelin. posters serie de posters deseñados por georg staehelin para museo do deseño de basilea entre os anos 1988 e 1998 tres posters de vinilo. three vinyl posters 1. gottlieb soland. grammo-grafik. kunstgewerbemuseum zürich. 1957 2. josef müller brockmann. anthologie de musique suisse. 1975? 3. markus bruggisser. jazz & pop schallplattenhüllen. kunstgewerbemuseum zürich. 1978. otl aicher. cadrado, círculo, triángulo (2). square, circle, triangle (2) 1. as capitais do vello mundo. otl aicher. 1951. 410×410 mm 2. problemas actuais da medicina moderna. otl aicher. 1953. 410×395 mm 3. a psicoloxía de CG Jung e o dereito. otl aicher. 1951. 410×415 mm otl aicher. cadrado, círculo, triángulo (1). square, circle, triangle (1) 1. fundamentos históricos do noso tempo. otl aicher. 1955. 830×400 mm 2. o individuo na comunidade. otl aicher. 1953. 830×405 mm 3. o xogo infantil. otl aicher. 1954. 830×400 mm max huber. chapeus e estradas. hats & roads en proceso. in process emil ruder. posters emil ruder
Revised Font Stack | A Way Back Serious efforts are being made to get more typeface choices on the web to enhance web typography. Still, most of us prefer web-safe fonts like: Verdana, Georgia, Times New Roman and Arial. Though choices are limited, yet the number can be increased by exploring other pre-installed fonts. “… font stacks are ultimately design factors, and should be scrutinized as such.”—Nathan Ford, Better CSS font stacks Baskerville, Garamond and Palatino have already been used a few times to create font-stacks that inspire. I’ve selected 10 popular typefaces, serif and sans-serif, each from the survey. MicrosoftTahoma, Verdana, Segoe, sans-serif;Microsoft.com will be (in most cases) rendered in Verdana on Mac, and in Tahoma on Windows. Times New RomanIf we look at the above snapshots taken from Sushi & Robots’ about page, we will find that Palatino and Georgia have different x-height (and weight) than Baskerville and Garamond.
This Just Tested: An aesthetic design that produced 189% more leads So often, beautiful design gets trumped by marketing objectives – and rightly so from a marketing perspective. The graphical elegance of a Web page might be worthy of an art exhibit, but if it doesn’t sell anything but “oohs” and “ahs,” what service does it really provide to anyone? True, but it is at this point that we tend to divide. It’s them or us. Are you a marketer or a designer? But I think we (marketers) can and should live in both worlds. But, feelings aside, we must always default to testing – not our gut instincts. The Original Page (click to enlarge) The original page was for an Australian company that offers dedicated hosting solutions. Nathan Thompson (who happens to be making his debut appearance on today’s Web clinic) was the key researcher for this page. 1) There is significant friction due to the volume of questions (many unnecessary) posed in the form. 2) There is not enough value being communicated with headlines, images, copy and CTA. The Results What do you think?
Dessin de caractères C’est une vaste question que soulève S.. Même si tu as raison en disant que les formes typographiques ont évolué depuis l’invention de Gutenberg, je pense pour autant que leur structure n’a pas foncièrement changé. C’est assez fou de se dire que Nicolas Jenson et les autres typographes de l’époque ont mis au point des formes qui sont toujours viables aujourd’hui. On peut facilement utiliser l’Adobe Jenson pour composer un texte actuel (même s’il est vrai que cela donnera une couleur particulière) tandis qu’il semble difficile de construire aujourd’hui un édifice style Renaissance sans se faire taxer de passéiste ou de nostalgique… Bref, tout ça pour dire que la structure des signes a finalement peu bougé. Il y a un schéma intéressant d'Adrian Frutiger dans lequel il superpose des a issus des grandes familles de la classification Vox, afin de faire apparaître une silhouette commune (1). Cependant, il ne faut pas oublier que l’œil ne lit pas les lettres une à une mais les mots entiers.
Why And How To Use Icon Fonts As great as images are, they present challenges in designing websites. They add file weight. They require additional http requests. They don’t scale well. Sometimes the best solution for using images in a responsive design is not to use an image. The Advantages of Icon Fonts Bitmap images don’t scale well. Fonts don’t have these problems. Icon fonts are awesome. Scale easilyChange color easilyInclude shadows easilyCan have transparent knockoutsHave good browser support in generalCan use text based css (still needs better support)Can be designed on the fly (by making changes on :hover, etc.)Can do anything image icons can do (change opacity, rotate, etc.)Have smaller file sizes since they contain fewer characters than full typeface Let’s see your bitmapped images do all that. How to Use Icon Fonts The first step in using icon fonts is to find and embed the font. From here you typically have 3 options. Wrap your icon in htmlUse css generated contentUse the data-icon attribute Summary
NSLOOKUP - DNS Look up - Find IP Address Query a DNS domain nameserver to lookup and find IP address information of computers in the internet. Convert a host or domain name into an IP address. This is the right place for you to check how your web hosting company or domain name registrar has set up the DNS stuff for your domain, how your dynamic DNS is going, or to search IP addresses or research any kind of e-mail abuse (UBE/UCE spam) or other internet abuse. This online service is for private non-commercial use only. Please do not abuse. No automated queries. If you prefer dig over nslookup, you may try our dig service. This page is also available in German, French and Portuguese. Link to www.kloth.net. A new discussion forum has been set up. Recommended books about Networking.
Une Initiation à la typographie – Atelier trois (A3) Détail de la couverture Introduction Construire l’harmonie Normes et règles canoniques Les formats de page La composition d’une page Les rapports de tension entre le blanc et le noir Le blanc entre les mots Familles de caractères Édité en trois langues (français, allemand, anglais) par l’éditeur suisse Niggli, ce livre est une invitation à découvrir l’univers de la typographie. Camille Gallet & Anne Denastas iF communication design award (2007) Nominé au Design Award of the Federal Republic of Germany (2009) Verlag Niggli AG Как это работает | Сайт про шрифты Все работает через @import Все шрифты подключаются через импортирование стилей в ваш css. В свою очередь автор предварительно разложил шрифты по полочкам, настроил все пути, приготовил архивы и написал пару сниппетов. Алгоритм работы Было сделано предположение, что во время работы не надо отвлекаться на поиск шрифта(если его не приложил дизайнер), генерирование кита и настройку путей в проекте. Подключение через ctrl+c ctrl+v Выбираем нужное семейство шрифтов в списке вверху страницы. Подключение с помощью сниппетов В меню справа выбираем пункт «Сниппеты». После того, как проект закончен, вы можете перейти по предоставленной ссылке и скачать готовый кит со шрифтом. Стало:@import " ваш_каталог_со_шрифтом/fontin.css" Еще раз важно: импортируемые файлы не содержат в себе ничего, кроме @font-face и ни коим образом не могут повлиять на ваш рабочий css! И последний раз важно: не рекомендуется оставлять абсолютный путь к шрифту.
(repost) Smart pre-populated form fields After playing around with the sub-form approaches (and getting thoroughly confused in the user aspect of using the form before even trying to set it up), I'm thinking that the macro approach may be the better way for me to go with this. As this is my first foray into the world of macros though, I'm not sure if I've got the usage right translated from dacm's example into the form I'm using. I presume that the "InitialiseForm" macro is set up against the Form Control in "Events", and I've worked out that the record clone macro is assigned to what would normally be the button assigned an action of "Save record" (setting the "Action to "None" when the macro is used). But when I try this, what happens is that I can enter one show result, then I can't enter anything new without closing the entire form and starting again. The "Use Case" that the form reflects for placing entry is: 1. This is presently using a master form with no sub-forms.
Typographie Joseph Kosuth, Wittgenstein’s color, 1989 ____________ Quelques extraits de mon article « Usages sociaux du caractère typographique », paru dans Livraison 13 La démocratisation des outils conjuguée à la dé-légitimation de la compétence esthétique a contribué à brouiller les frontières qui interdisaient au profane, jusqu’au milieu du XXe siècle, l’accès à un espace restreint dont les imprimeurs avaient le monopole : la typographie. Ces deux facteurs sont à l’origine de profondes modifications du rapport à la forme typo-graphique, qui, dans le domaine de la production, comme dans celui de la « consommation » si l’on prend le point de vue du lecteur, invitent à reconsidérer la lettre en dehors de ses usages légitimes et des critères esthétiques dominants. Repenser la valeur du signe dans la perspective de ses usages, c’est aussi réfléchir, en dehors des classifications proposant des catégories transcendantes, aux conventions qui nous lient à son existence.