Designed by Happy Cog and launched today, The Amanda Project is a social media network, creative writing project, interactive game, and book series combined:
The Amanda Project is the story of Amanda Valentino, told through an interactive website and book series for readers aged 13 & up. On the website, readers are invited to become a part of the story as they help the main characters search for Amanda.
The writing-focused social media network is designed and written as if by characters from the Amanda novels, and encourages readers to enter the novel’s world by joining the search for Amanda, following clues and reading passages that exist only online, and ultimately helping to shape the course of the Amanda narrative across eight novels. (The first Amanda novel—Invisible I, written by Melissa Kantor—comes out 22 September.)
The site developed over a year of intense creative collaboration between Happy Cog and Fourth Story Media, a book publisher and new media company spearheaded by publishing whiz Lisa Holton. Prior to starting Fourth Story, Lisa was was President, Scholastic Trade Publishing and Book Fairs; managed the publication of Harry Potter and the Deathly Hallows; and oversaw development of The 39 Clues. Before that she spent nearly a decade developing numerous bestselling, franchise-launching series at Disney.
Happy Cog‘s New York office developed this project. The team:
Equally vital to the project’s success were Fourth Story’s leaders and partners, including:
Lorraine Shanley, Principal Advisor
Ariel Aberg-Riger (website, Twitter), Creative Development & Marketing Manager
JillEllyn Riley, Editorial Director
Dale Robbins, Creative Director
David Stack, Director, Digital Partnerships
Melissa Kantor, Writer
Peter Silsbee, Writer
Polly Kanevsky, Art Director
Sam Gerstenzang, Technology Consultant
Today’s launch is not the end of our relationship with Fourth Story Media. The Amanda Project will continue to evolve, and Happy Cog will remain an active partner in its direction and growth. We thank our brilliant collaborators and congratulate them on today’s milestone.
Over the weekend, as thoughtful designers gathered at Typecon 2009 (“a letterfest of talks, workshops, tours, exhibitions, and special events created for type lovers at every level”), the subject of web fonts was in the air and on the digital airwaves. Worthwhile reading on web fonts and our other recent obsessions includes:
Responding to a question I raised here in comments on Web Fonts Now, for Real, Richard Fink explains the thinking behind Ascender Corp.’s EOT Lite proposal . The name “EOT Lite” suggests that DRM is still very much part of the equation. But, as Fink explains it, it’s actually not.
EOT Lite removes the two chief objections to EOT:
it bound the EOT file, through rootstrings, to the domain name;
it contained MTX compression under patent by Monotype Imaging, licensed by Microsoft for this use.
Essentially, then, an “EOT Lite file is nothing more than a TTF file with a different file extension” (and an unfortunate but understandable name).
A brief, compelling read for a published spec that might be the key to real fonts on the web.
Where does all of this net out? For @ilovetypography, “While we’re waiting on .webfont et al., there’s Typekit.”
(We announced Typekit here on the day it debuted. Our friend Jeff Veen’s company Small Batch, Inc. is behind Typekit, and Jason Santa Maria consults on the service. Jeff and Jason are among the smartest and most forward thinking designers on the web—the history of Jeff’s achievements would fill more than one book. We’ve tested Typekit, love its simple interface, and agree that it provides a legal and technical solution while we wait for foundries to standardize on one of the proposals that’s now out there. Typekit will be better when more foundries sign on; if foundries don’t agree to a standard soon, Typekit may even be the ultimate solution, assuming the big foundries come on board. If the big foundries demur, it’s unclear whether that will spell the doom of Typekit or of the big foundries.)
Applauding HTML 5’s introduction of semantic page layout elements (“Goodbye div soup, hello semantic markup”), author Jeff Starr shows how HTML 5 facilitates cleaner, simpler markup, and explains how CSS can target HTML 5 elements that lack classes and IDs. The piece ends with a free, downloadable goodie for WordPress users. (The writer is the author of the forthcoming Digging into WordPress.)
Web Fonts Now, for Real: David Berlow of The Font Bureau publishes a proposal for a permissions table enabling real fonts to be used on the web without binding or other DRM. — 16 July 2009
Web Fonts Now (How We’re Doing With That): Everything you ever wanted to know about real fonts on the web, including commercial foundries that allow @font-face embedding; which browsers already support @font-face; what IE supports instead; Håkon Wium Lie, father of CSS, on @font-face at A List Apart; the Berlow interview at A List Apart; @font-face vs. EOT; Cufón; SIFR; Cufón combined with @font-face; Adobe, web fonts, and EOT; and Typekit, a new web service offering a web-only font linking license on a hosted platform; — 23 May 2009
HTML 5 is a mess. Now what? A few days ago on this site, John Allsopp argued passionately that HTML 5 is a mess. In response to HTML 5 activity leader Ian Hickson’s comment here that, “We don’t need to predict the future. When the future comes, we can just fix HTML again,” Allsopp said “This is the only shot for a generation” to get the next version of markup right. Now Bruce Lawson explains just why HTML 5 is “several different kind of messes.” Given all that, what should web designers and developers do about it? — 16 July 2009
Web Standards Secret Sauce: Even though Firefox and Opera offered powerfully compelling visions of what could be accomplished with web standards back when IE6 offered a poor experience, Firefox and Opera, not unlike Linux and Mac OS, were platforms for the converted. Thanks largely to the success of the iPhone, Webkit, in the form of Safari, has been a surprising force for good on the web, raising people’s expectations about what a web browser can and should do, and what a web page should look like. — 12 July 2009
In Defense of Web Developers: Pushing back against the “XHTML is bullshit, man!” crowd’s using the cessation of XHTML 2.0 activity to condescend to—or even childishly glory in the “folly” of—web developers who build with XHTML 1.0, a stable W3C recommendation for nearly ten years, and one that will continue to work indefinitely. — 7 July 2009
XHTML DOA WTF: The web’s future isn’t what the web’s past cracked it up to be. — 2 July 2009
Is there life after Georgia? We ask David Berlow, co-founder of The Font Bureau, Inc, and the ﬁrst TrueType type designer, how type designers and web designers can work together to resolve licensing and technology issues that stand between us and real fonts on the web.
Research proves attractive things work better. How we think cannot be separated from how we feel. The next time a boss, client, or co-worker scoffs at the notion that beauty is an important aspect of interface design, point their peepers here.
A List Apart explores the design, development, and meaning of web content, with a special focus on web standards and best practices.
I wrote this book in 2001 for print designers whose clients want websites, print art directors who’d like to move into full–time web and interaction design, homepage creators who are ready to turn pro, and professionals who seek to deepen their web skills and understanding.
Here we are in 2009, and print designers and art directors are scrambling to move into web and interaction design.
The dot-com crash killed this book. Now it lives again. While browser references and modem speeds may reek of 2001, much of the advice about transitioning to the web still holds true.
What can I say? I’m a sucker for the gentle touch of a make-up pad. Or of anything, really. I love this photo (shot by Byrne with my iPhone) because it captures the fact that I’m still really a four-year-old. It also shows what a genuine photographer can do with even the humblest of tools.
Join Eric Meyer and your humble host with truly special guest speakers Jason Santa Maria, Jeremy Keith, Joshua Porter, Whitney Hess, Dan Cederholm, Daniel Mall, Derek Featherstone, Aarron Walter, Scott Thomas, Heather Champ, Andy Clarke, and GoodBarry’s Brett Welch for two days of design, code, and content.
An intensely educational two-day conference for passionate practitioners of standards-based web design, An Event Apart brings together thirteen of the leading minds in web design for two days of non-stop inspiration and enlightenment. If you care about code as well as content, usability as well as design, this is the one you’ve been waiting for.
If you’ve been longing to follow Jason Santa Maria’s lead and bring real art direction to the no-budget, publish-now medium of the personal website, Noel Jackson‘s Art Direction Plug-in is for you. The plug-in lets you style individual entries in your WordPress blog without hacking the publishing tool or expending energy on time-consuming workarounds.
Doug and Brian Alvey and Adam Greenfield and I were working on a big client project when Doug’s back went out. He was so sick, he couldn’t work, and it was unclear when he would be able to work again.
As a friend, I was worried about Doug. As a creative director, I was worried about finishing my client’s project.
Doug and I had both done designs. The client liked my design but I’d sold him Doug’s. Now Doug couldn’t finish, and I didn’t trust myself to execute the remaining pages in Doug’s style. I needed someone skilled enough to finish what Doug had started and mature enough to sublimate his own style while still making good design choices.
I had just read “Grey Box Methodology,” a well-written romp through a personal design process. The author was a young designer named Jason Santa Maria. His site looked great, his portfolio was impressive, he had good ideas about design, and the process he had written about lent itself to the technical aspects of finishing Doug’s work.
I wrote to Jason Santa Maria, telling him I had a small freelance project that was probably boring and would bring him no glory, since it required him to design like someone else. Jason was game and said yes. He did a great job and was egoless about it, and he seemed perfectly comfortable working with better established, heavyweight talents. His quick, professional, selfless work kept the project going until Doug was back on his feet.
To reward Jason for what he had done, when a new and juicy assignment came my way, I asked if he wanted to be the project’s lead designer. The rest you can you figure out.
For four and a half years, Jason Santa Maria has been a designer and then a creative director at Happy Cog. In an agency filled with talent, he made a huge personal mark. I’ve trusted him with some of the most important designs we’ve handled, from AIGA to the redesign of A List Apart. He has never let me down, professionally or personally. More than that, his work has expanded my conception of what web design can be.
Four and a half years is a couple of centuries in internet time. For about a year, Jason and I have known that it was getting to be time for him to move on. Not that we had any problem with him or he with us. But just that nearly half a decade is a long time for any designer to spend in one place.
As he has just announced, Jason is leaving Happy Cog. He will stay involved in A List Apart and perhaps a few selected projects, but basically he is out the door and spreading his wings. Godspeed.
[tags]jasonsantamaria, Jason Santa Maria, JSM, Stan, adieu, happycog, design, webdesign[/tags]