OUR FRIENDS at Typecast shot a video of some of Happy Cog’s designers discussing readability in design and the importance of great type tools to our process.
WITH RETINA DISPLAY technology on the verge of ubiquity and some of today’s best web design minds rightfully fretting about it (see PPK, Stephanie Rieger, Brad Frost, and Stuntbox if you’ve missed this latest Topic Of Concern), it seems to this old web slinger that web type is poised to replace photography as the dominant element of web design aesthetic appeal in the next few years.
But type is type is type, and the higher the resolution of the device, the better that type will look, with no bandwidth overhead.
In that spirit, although we haven’t yet worked with it ourselves, we welcome the launch of TypeButter. Developed by David Hudson and designed by Joel Richardson, TypeButter is a plug-in that “allows you to set optical kerning for any font on your website.”
Soon, CSS and browsers will let us set type properly without the need for widgets and plug-ins. Until then, widgets and plug-ins fill the gap. Thank you, David and Joel, and all you beautiful web type designers and polyfill wizards.
YOU FIND ME ENSCONCED in the fabulous Buckhead, Atlanta Intercontinental Hotel, preparing to unleash An Event Apart Atlanta 2011, three days of design, code, and content strategy for people who make websites. Eric Meyer and I co-founded our traveling web conference in December, 2005; in 2006 we chose Atlanta for our second event, and it was the worst show we’ve ever done. We hosted at Turner Field, not realizing that half the audience would be forced to crane their necks around pillars if they wanted to see our speakers or the screen on which slides were projected.
Also not realizing that Turner Field’s promised contractual ability to deliver Wi-Fi was more theoretical than factual: the venue’s A/V guy spent the entire show trying to get an internet connection going. You could watch audience members twitchily check their laptops for email every fourteen seconds, then make the “no internet” face that is not unlike the face addicts make when the crack dealer is late, then check their laptops again.
The food was good, our speakers (including local hero Todd Dominey) had wise lessons to impart, and most attendees had a pretty good time, but Eric and I still shudder to remember everything that went wrong with that gig.
Not to jinx anything, but times have changed. We are now a major three-day event, thanks to a kick-ass staff and the wonderful community that has made this show its home. We thank you from the bottoms of our big grateful hearts.
I will see several hundred of you for the next three days. Those not attending may follow along:
THE SHOW IS OVER, but the memories, write-ups, demos, and links remain. Enjoy!
Speakers, attendees, parties, and the wonders of Boston, captured by those who were there.
Jeremy Keith quite effectively live-blogs my opening keynote on the particular opportunities of Now in the field of web design, and the skills every designer needs to capitalize on the moment and make great things.
Related to my talk: Jeremy Keith’s original write-up on a notorious but all-too-common practice. If your boss or client tells you to design this pattern, just say no. Design that does not serve users does not serve business.
“In his opening keynote … Jeffrey Zeldman talked about the skills and opportunities that should be top of mind for everyone designing on the Web today.” Luke Wroblewski’s write-up.
“As a consultant, [Whitney] spends a lot of time talking about UX and inevitably, the talk turns to deliverables and process but really we should be establishing a philosophy about how to treat people, in the same way that visual design is about establishing a philosophy about how make an impact. Visual design has principles to achieve that: contrast, emphasis, balance, proportion, rhythm, movement, texture, harmony and unity.” In this talk, Whitney proposed a set of 10 principles for UX design.
Live blogging by Jeremy Keith. Veerle, a noted graphic and interaction designer from Belgium, shared her process for discovering design through iteration and experimentation.
Luke’s live awesomeness cannot be captured in dead written words, but Mr Keith does a splendid job of quickly sketching many of the leading ideas in this key AEA 2011 talk.
See also: funky dance moves with Luke Wroblewski, a very short video I captured as Luke led the crowd in the opening moves of Michael Jackson’s “Thriller.”
“The next talk here at An Event Apart in Boston is one I’ve really, really, really been looking forward to: it’s a presentation by my hero Ethan Marcotte.”
Ethan’s amazing talk—a key aspect of design in 2011 and AEA session of note—as captured by the great Luke Wroblewski.
“In his presentation at An Event Apart in Boston, MA 2011 Jared Spool detailed the importance and role of links on Web pages.” No writer can capture Jared Spool’s engaging personality or the quips that produce raucous laughter throughout his sessions, but Luke does an outstanding job of noting the primary ideas Jared shares in this riveting and highly useful UX session.
Luke W: “In his All Our Yesterdays presentation at An Event Apart in Boston, MA 2011 Jeremy Keith outlined the problem of digital preservation on the Web and provided some strategies for taking a long term view of our Web pages.”
Although it is hard to pick highlights among such great speakers and topics, this talk was a highlight for me. As in, it blew my mind. Several people said it should be a TED talk.
Luke: “In his Idea to Interface presentation at An Event Apart in Boston, MA 2011 Aarron Walter encouraged Web designers and developers to tackle their personal projects by walking through examples and ways to jump in. Here are my notes from his talk.”
Compiled by the speaker, links include Design Personas Template and Example, the story behind the illustrations in the presentation created by Mike Rhode, Dribble, Huffduffer, Sketchboards, Mustache for inserting data into your prototypes, Keynote Kung Fu, Mocking Bird, Yahoo Design Patterns, MailChimp Design Pattern Library, Object Oriented CSS by Nicole Sullivan and more!
“In his Smoke Gets In Your Eyes presentation at An Event Apart in Boston, MA 2011 Andy Clarke showcased what is possible with CSS3 animations using transitions and transforms in the WebKit browser.” Write-up by the legendary Luke Wroblewski.
The “Mad Men” opening titles re-created entirely in CSS3 animation. (Currently requires Webkit browser, e.g. Safari, Chrome.)
Anthony Calzadilla, a key collaborator on the Mad Men CSS3 animation, showcases his works.
Pure CSS3 box-shadow page curl effect. Mentioned during Ethan Marcotte’s Day 3 session on exploring CSS3.
Fascinating article by Anton Peck (who attended the show). Proposed: a solution to a key problem with CSS transitions. (“Even now, my main issue with transitions is that they use the same time-length value for the inbound effect as they do the outbound. For example, when you create a transition on an image with a 1-second duration, you get that length of time for both mousing over, and mousing away from the object. This type of behavior should be avoided, for the sake of the end-user!”)
Ethan Marcotte: “Hello. I am here to discuss CSS3 gradients. Because, let’s face it, what the web really needed was more gradients.”
Like it says.
By the incomparable John Allsopp.
These sessions were not captured
Some of our best talks were not captured by note-takers, at least not to my knowledge. They include:
- Eric Meyer: CSS Anarchist’s Cookbook
- Mark Boulton: Outing the Mind: Designing Layouts That Think for You
- Jeff Veen: Disaster, DNA, and the Fathomless Depth of the Web
It’s possible that the special nature of these presentations made them impossible to capture in session notes. (You had to be there.)
There are also no notes on the two half-day workshop sessions, “Understand HTML5 With Jeremy Keith,” and “Explore CSS3 With Ethan Marcotte.”
What have I missed?
Attendees and followers, below please add the URLs of related educational links, write-ups, and tools I’ve missed here. Thanks!
RICHARD RUTTER, designer, technologist, information architect, writer, and co-founder of Fontdeck and Clearleft, joins Dan Benjamin and me to discuss the technical, aesthetic, and business aspects of putting real type on the web in Big Web Show Episode No. 44, now at 5by5.tv and iTunes for your listening pleasure.
Dutch design studio Experimental Jetset carried out the graphic design for Pioneers of Change—a festival of Dutch design, fashion, and architecture which took place on New York’s Governors Island in September 2009. The design system, which included a website, printed programs, and wayfinding elements, made prominent use of Franklin Gothic Extra Condensed
Nick Sherman discusses a smart application of my favorite font, Franklin Gothic, in the virtual pages of what might be my new favorite design website, Fonts in Use.
WHAT A YEAR 2010 has been. It was the year HTML5 and CSS3 broke wide; the year the iPad, iPhone, and Android led designers down the contradictory paths of proprietary application design and standards-based mobile web application design—in both cases focused on user needs, simplicity, and new ways of interacting thanks to small screens and touch-sensitive surfaces.
It was the third year in a row that everyone was talking about content strategy and designers refused to “just comp something up” without first conducting research and developing a user experience strategy.
Even outside the newest, best browsers, things were better than ever. Modernizr and eCSStender brought advanced selectors and @font-face to archaic browsers (not to mention HTML5 and SVG, in the case of Modernizr). Tim Murtaugh and Mike Pick’s HTML5 Reset and Paul Irish’s HTML5 Boilerplate gave us clean starting points for HTML5- and CSS3-powered sites.
Web fonts were everywhere—from the W3C to small personal and large commercial websites—thanks to pioneering syntax constructions by Paul Irish and Richard Fink, fine open-source products like the Font Squirrel @Font-Face Generator,
open-source liberal font licensing like FontSpring’s, and terrific service platforms led by Typekit and including Fontdeck, Webtype, Typotheque, and Kernest.
Print continued its move to networked screens. iPhone found a worthy adversary in Android. Webkit was ubiquitous.
Insights into the new spirit of web design, from a wide variety of extremely smart people, can be seen and heard on The Big Web Show, which Dan Benjamin and I started this year (and which won Video Podcast of the Year in the 2010 .net Awards), on Dan’s other shows on the 5by5 network, on the Workers of the Web podcast by Alan Houser and Eric Anderson, and of course in A List Apart for people who make websites.
Zeldman.com: The Year in Review
A few things I wrote here at zeldman.com this year (some related to web standards and design, some not) may be worth reviewing:
- iPad as the New Flash 17 October 2010
- Masturbatory novelty is not a business strategy.
- Flash, iPad, and Standards 1 February 2010
- Lack of Flash in the iPad (and before that, in the iPhone) is a win for accessible, standards-based design. Not because Flash is bad, but because the increasing popularity of devices that don’t support Flash is going to force recalcitrant web developers to build the semantic HTML layer first.
- An InDesign for HTML and CSS? 5 July 2010
- Stop Chasing Followers 21 April 2010
- The web is not a game of “eyeballs.” Never has been, never will be. Influence matters, numbers don’t.
- Crowdsourcing Dickens 23 March 2010
- Like it says.
- My Love/Hate Affair with Typekit 22 March 2010
- Like it says.
- You Cannot Copyright A Tweet 25 February 2010
- Like it says.
- Free Advice: Show Up Early 5 February 2010
- Love means never having to say you’re sorry, but client services means apologizing every five minutes. Give yourself one less thing to be sorry for. Take some free advice. Show up often, and show up early.
A few things I wrote elsewhere might repay your interest as well:
- The Future of Web Standards 26 September, for .net Magazine
- Cheap, complex devices such as the iPhone and the Droid have come along at precisely the moment when HTML5, CSS3 and web fonts are ready for action; when standards-based web development is no longer relegated to the fringe; and when web designers, no longer content to merely decorate screens, are crafting provocative, multi-platform experiences. Is this the dawn of a new web?
- Style vs. Design written in 1999 and slightly revised in 2005, for Adobe
- When Style is a fetish, sites confuse visitors, hurting users and the companies that paid for the sites. When designers don’t start by asking who will use the site, and what they will use it for, we get meaningless eye candy that gives beauty a bad name.
Happy New Year, all!
For nearly fifteen years, if you wanted to set a paragraph of web text in a serif typeface, the only truly readable option was Georgia. But now, in web type’s infancy, we’re starting to see some valid alternatives for the king of screen serifs. What follows is a list of serif typefaces that have been tuned—and in some cases drawn from scratch—for the screen.
Stephen Coles, December 6, 2010:
Cure for the Common Webfont, Part 2: Alternatives to Georgia
Tired of staring at your font collection, wondering what a trained graphic designer would do with all those typefaces? Unsure whether Times or Miller is the more appropriate choice for that vaguely left-leaning newspaper you have to design? Want to make sure that info-graphic you’re designing looks hot? Then, friend, you need So You Need a Typeface, a large, hot-looking info-graphic suitable for printing and framing (or at least taping to the wall of your cubicle).
From the good folks at Inspiration Lab.