Archive for August, 2011

HTML5 And The Document Outlining Algorithm

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By now, we all know that we should be using HTML5 to build websites. The discussion now is moving on to how to use HTML5 correctly. One important part of HTML5 that is still not widely understood is sectioning content: section, article, aside and nav. To understand sectioning content, we need to grasp the document outlining algorithm.

Understanding the document outlining algorithm can be a challenge, but the rewards are well worth it. No longer will you agonize over whether to use a section or div element — you will know straight away. Moreover, you will know why these elements are used, and this knowledge of semantics is the biggest benefit of learning how the algorithm works.

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What Is The Document Outlining Algorithm?

The document outlining algorithm is a mechanism for producing outline summaries of Web pages based on how they are marked up. Every Web page has an outline, and checking it is easy using a really simple free online tool, which we’ll cover shortly.

So, let’s start with a sample outline. Imagine you have built a website for a horse breeder, and he wants a page to advertise horses that he is selling. The structure of the page might look something like this:

  1. Horses for sale
    1. Mares
      1. Pink Diva
      2. Ring a Rosies
      3. Chelsea’s Fancy
    2. Stallions
      1. Korah’s Fury
      2. Sea Pioneer
      3. Brown Biscuit
Figure 1: How a page about horses for sale might be structured.

That’s all it is: a nice, clean, easy-to-follow list of headings, displayed in a hierarchy — much like a table of contents.

To make things even simpler, only two things in your mark-up affect the outline of a Web page:

Obviously, the sectioning of content is the new HTML5 way to create outlines. But before we get into that, let’s go back to HTML 101 and review how we should all be using headings.

Creating Outlines With Heading Content

To create a structure for the horses page outlined in figure 1, we could use mark-up like the following:

<div>
   <h1>Horses for sale</h1>

   <h2>Mares</h2>

   <h3>Pink Diva</h3>
   <p>Pink Diva has given birth to three Grand National winners.</p>

   <h3>Ring a Rosies</h3>
   <p>Ring a Rosies has won the Derby three times.</p>

   <h3>Chelsea’s Fancy</h3>
   <p>Chelsea’s Fancy has given birth to three Gold Cup winners.</p>

   <h2>Stallions</h2>

   <h3>Korah’s Fury</h3>
   <p>Korah’s Fury has fathered three champion race horses.</p>

   <h3>Sea Pioneer</h3>
   <p>Sea Pioneer has won The Oaks three times.</p>

   <h3>Brown Biscuit</h3>
   <p>Brown Biscuit has fathered nothing of any note.</p>

   <p>All our horses come with full paperwork and a family tree.</p>
</div>
Figure 2: Our “Horses for sale� page, marked up using headings.

It’s as simple as that. The outline in figure 1 is created by the levels of the headings.

Just so you know that I’m not making this up, you should copy and paste the code above into Geoffrey Sneddon’s excellent outlining tool. Click the big “Outline this� button, et voila!

An outline created with heading content this way is said to consist of implicit, or implied, sections. Each heading creates its own implicit section, and any subsequent heading of a lower level starts another layer, of implicit sub-section, within it.

An implicit section is ended by a heading of the same level or higher. In our example, the “Mares� section is ended by the beginning of the “Stallions� section, and each section that contains details of an individual horse is ended by the beginning of the next one.

Figure 3 below is an example of an implicit section that ends with a heading of the same level. And figure 4 is an implicit section that ends with a heading of a higher level.

<h3>Sea Pioneer</h3><!-- start of implicit section -->
<p>Sea Pioneer has won The Oaks three times.</p>

<h3>Brown Biscuit</h3><!-- This heading starts a new implicit section,
so the previous Sea Pioneer section is closed -->
Figure 3: An implicit section being closed by a heading of the same level
<h3>Chelsea’s Fancy</h3><!-- start of implicit section -->
<p>Chelsea’s Fancy has given birth to 3 Gold Cup winners.</p>

<h2>Stallions</h2><!-- this heading starts a new implicit section
using a higher level heading, so Chelsea’s Fancy is now closed -->
Figure 4: An implicit section being closed by a heading of a higher level.

Creating Outlines With Sectioning Content

Now that we know how heading content works in creating an outline, let’s mark up our horses page using some new HTML5 structural elements:

<div>
   <h6>Horses for sale</h6>

   <section>
      <h1>Mares</h1>

      <article>
         <h1>Pink Diva</h1>
         <p>Pink Diva has given birth to three Grand National winners.</p>
      </article>

      <article>
         <h5>Ring a Rosies</h5>
         <p>Ring a Rosies has won the Derby three times.</p>
      </article>

      <article>
         <h2>Chelsea’s Fancy</h2>
         <p>Chelsea’s Fancy has given birth to three Gold Cup winners.</p>
      </article>
   </section>

   <section>
      <h6>Stallions</h6>

      <article>
         <h3>Korah’s Fury</h3>
         <p>Korah’s Fury has fathered three champion race horses.</p>
      </article>

      <article>
         <h3>Sea Pioneer</h3>
         <p>Sea Pioneer has won The Oaks three times.</p>
      </article>

      <article>
         <h1>Brown Biscuit</h1>
         <p>Brown Biscuit has fathered nothing of any note.</p>
      </article>
   </section>

   <p>All our horses come with full paperwork and a family tree.</p>
</div>
Figure 5: The horses page, marked up with some new HTML5 structural elements.

Now, I know what you’re thinking, but I haven’t taken leave of my senses with these crazy headings. I am making a very important point, which is that the outline is created by the sectioning content, not the headings.

Go ahead and copy and paste that code into the outliner, and you will see that the heading levels have absolutely no effect on the outline where sectioning content is used.

The section, article, aside and nav elements are what create the outline, and this time the sections are called explicit sections.

One of the most talked about features of HTML5 is that multiple h1 elements are allowed, and this is why. It’s not an open invitation to mark up every heading on the page as h1; rather, it’s an acknowledgement that where sectioning content is used, it creates the outline, and that each explicit section has its own heading structure.

The part of the HTML5 spec that deals with headings and sections makes this clear:

Sections may contain headings of any rank, but authors are strongly encouraged to either use only h1 elements, or to use elements of the appropriate rank for the section’s nesting level.

I would strongly advise that until browsers — and, more critically, screen readers — understand that sectioning content introduces a sub-section, using multiple h1 elements is less safe than using a heading structure that reflects the level of each heading in the document, as shown in figure 6 below.

This means that user agents that haven’t implemented the outlining algorithm can use implicit sectioning, and those that have implemented it can effectively ignore the heading levels and use sectioning content to create the outline.

At the time of this writing, no browsers or screen readers have implemented the outlining algorithm, which is why we need third-party testing tools such as the outliner. The latest versions of Chrome and Firefox style h1 elements in nested sections differently, but that is very different from actually implementing the algorithm.

When most user agents finally do support it, using an h1 in every explicit section will be the preferred option. It will allow syndication tools to handle articles without needing to reformat any heading levels in the original content.

   <div>
      <h1>Horses for sale</h1>

      <section>
         <h2>Mares</h2>

         <article>
            <h3>Pink Diva</h3>
            <p>Pink Diva has given birth to three Grand National winners.</p>
         </article>

         <article>
            <h3>Ring a Rosies</h3>
            <p>Ring a Rosies has won the Derby three times.</p>
         </article>

         <article>
            <h3>Chelsea’s Fancy</h3>
            <p>Chelsea’s Fancy has given birth to three Gold Cup winners.</p>
         </article>
      </section>

      <section>
         <h2>Stallions</h2>

         <article>
            <h3>Korah’s Fury</h3>
            <p>Korah’s Fury has fathered three champion race horses.</p>
         </article>

         <article>
            <h3>Sea Pioneer</h3>
            <p>Sea Pioneer has won The Oaks three times.</p>
         </article>

         <article>
            <h3>Brown Biscuit</h3>
            <p>Brown Biscuit has fathered nothing of any note.</p>
         </article>
      </section>

      <p>All our horses come with full paperwork and a family tree.</p>
   </div>
Figure 6: Our horses page, marked up sensibly.

One other point worth noting here is the position of the paragraph “All our horses come with full paperwork and a family tree.� In the example that used headings to create the outline (figure 2), this paragraph is part of the implicit section created by the “Brown Biscuit� heading. Human readers will clearly see that this text applies to the whole document, not just Brown Biscuit.

Sectioning content solves this problem quite easily, moving it back up to the top level, headed by “Horses for sale.�

Mixing It Up

So, what happens when implicit sections and explicit sections are combined? As long as you remember that implicit sections can go inside explicit sections, but not the other way round, you will be fine. For example, the following works well and is perfectly valid:

   <h1>Horses for sale</h1>

   <section>
      <h2>Mares</h2>

      <h3>Pink Diva</h3>
      <p>Pink Diva has given birth to three Grand National winners.</p>

      <h3>Ring a Rosies</h3>
      <p>Ring a Rosies has won the Derby three times.</p>

      <h3>Chelsea’s Fancy</h3>
      <p>Chelsea’s Fancy has given birth to three Gold Cup winners.</p>
   </section>

And it creates a sensible hierarchical outline:

  1. Horses for sale
    1. Mares
      1. Pink Diva
      2. Ring a Rosies
      3. Chelsea’s Fancy
Figure 7: Implicit sections created by headings inside an explicit section.

However, if you hope to achieve the same outline by nesting an explicit section inside an implicit section, it won’t work. The sectioning element will simply close the implicit section created by the heading and create a very different outline, as shown below:

   <h1>Horses for sale</h1>

   <h2>Mares</h2>

   <article>
      <h3>Pink Diva</h3>
      <p>Pink Diva has given birth to three Grand National winners.</p>
   </article>

   <article>
      <h3>Ring a Rosies</h3>
      <p>Ring a Rosies has won the Derby three times.</p>
   </article>

   <article>
      <h3>Chelsea’s Fancy</h3>
      <p>Chelsea’s Fancy has given birth to three Gold Cup winners.</p>
   </article>

This would produce the following outline:

  1. Horses for sale
    1. Mares
    2. Pink Diva
    3. Ring a Rosies
    4. Chelsea’s Fancy
Figure 8: Explicit sections can’t go inside implicit sections.

There is no way to make the explicit sections created by the article elements become sub-sections of the Mare’s implicit section.

You can use headings to split up the content of sectioning elements, but not the other way round.

Things To Watch Out For

Untitled Sections

Until now we haven’t really looked at nav and aside, but they work exactly the same as section and article. If you have secondary content that is generally related to your website — say, horse-training tips and industry news — you would mark it up as an aside, which creates an explicit section in the document outline. Similarly, major navigation would be marked up as nav, again creating an explicit section.

There is no requirement to use headings for aside and nav, so they can appear in the outline as untitled sections. Go ahead and try the following code in the outliner:

   <nav>
      <ul>
         <li><a href="/">home</a></li>
         <li><a href="/about.html">about us</a></li>
         <li><a href="/horses.html">horses for sale</a></li>
       </ul>
   </nav>

   <h1>Horses for sale</h1>

   <section>
      <h2>Mares</h2>
   </section>

   <section>
      <h2>Stallions</h2>
   </section>
Figure 9: An untitled <nav>.

The nav appears as an untitled section. Now, this generally wouldn’t be a problem and is not considered bad HTML5 code, although in his recent HTML5 Doctor article on outlining, Mike Robinson recommends using headings for all sectioning content in order to increase accessibility.

Untitled section and article elements, on the other hand, are generally to be avoided. In fact, if you’re unsure whether to use a section or article, a good rule of thumb is to see whether the content has a natural, logical heading. If it doesn’t, then you will more than likely be wiser to use a good old div.

Now, the spec doesn’t actually require section elements to have a title. It says:

The section element represents a generic section of a document or application. A section, in this context, is a thematic grouping of content, typically with a heading.

Your interpretation of this probably hinges on your understanding of the word “typically.� I take it to mean that you need a damn good reason not to use headings with section elements. I do not take it to mean that you can ignore it whenever you feel the urge to use a new HTML5 element.

Where the article element is specified, the spec goes even further by showing an example of blog comments marked up as untitled articles, so there are exceptions. However, if you see an untitled section or article in the outline, make sure you have a good reason for not giving it a title.

If you are unsure whether your untitled section is a nav, aside, section or article, a very handy Opera extension will let you know which type of sectioning content you have left untitled. The tool will also let you view the outline without leaving the page, which can be hugely beneficial when you’re debugging sections.

Sectioning Root

The eagle-eyed among you will have noticed that when I said that sectioning content cannot create a sub-section of an implicit section, there was an h1 (“Horses for sale�) not in sectioning content immediately followed by a section (“Mares�), and that the sectioning content did actually create a sub-section of the h1.

The reason for this is sectioning root. As the spec says, sectioning elements create sub-sections of their nearest ancestor sectioning root or sectioning content.

Sectioning content elements are always considered subsections of their nearest ancestor sectioning root or their nearest ancestor element of sectioning content, whichever is nearest, regardless of what implied sections other headings may have created.

The body element is sectioning root. So, if you paste the code from figure 7 into the outliner, the h1 would be the sectioning root heading, and the section element would be a sub-section of the body sectioning root.

The body element is not the only one that acts as sectioning root. There are five others:

  1. blockquote
  2. details
  3. fieldset
  4. figure
  5. td

The status of these elements as sectioning root has two implications. First, each can have its own outline. Secondly, the outline of nested sectioning root does not appear in, nor does it have an effect on, the outline of its parent sectioning root.

In practice, this means that headings inside any of the five sectioning root elements listed above do not affect the outline of the document that they are a part of.

The final thing (you’ll be glad to hear) that I’ll say about sectioning root is that the first heading in the document that is not inside sectioning content is considered to be the document title.

Try the following code in the outliner to see what happens:

<section>
   <h1>this is an h1</h1>
</section>

<h6>this h6 comes first in the source</h6>

<h1>this h1 comes last in the source</h1>
Figure 10: How heading levels at the root level affect the outline.

I won’t try to explain this to you because it will probably only confuse both of us, so I’ll let you play with it in the outliner. Hint: try using different heading levels for the implicit sections to see how the outline is affected; for example, h3 and h4, or two h5s.

Untitled Documents

If no heading is at the root level of the document (i.e. not inside sectioning content), then the document itself will be untitled. This is a pretty serious problem, and it can occur either through carelessness or, paradoxically, by thinking carefully about how sectioning content should be used.

Roger Johansson addresses this issue in his excellent article on document outlines and HTML5 and the follow-up article.

Johansson asks how a proper document outline is supposed to be created for a blog post or other news-type item using HTML5. If you subscribe to the belief that your logo or website name should not be in an h1 element, you could mark up your blog post along the lines of the following:

<body>
   <article>
      <h1>Blog post title</h1>

      <p>Blog post content</p>
   </article>
</body>

The document is untitled. Somewhat reluctantly, Johansson settles on marking up the website’s title in h1 and using another h1 to mark up the article’s title. This is a sensible solution and is backed up by the results of the WebAIM screenreader user survey, in which the majority of respondents stated a preference for two top-level headings in exactly this format.

This same approach is also widely used on static pages that are built with HTML5 structural elements, and it could be very useful indeed for screen reader users. Imagine that you are using a screen reader to find a decent recipe for chicken pie, and you have a handful of recipe websites open for comparison. Being able to quickly find out which website you are on using the shortcut key for headings would be much more useful than seeing only “chicken pie� on each one.

Not too far behind two top-level headings in the screen reader user survey was one top-level heading for the document. This is probably my preferred option in most cases; but as we have already seen, it creates an untitled body, which is undesirable.

In my opinion, there is an easy way around this problem: don’t use article as a wrapper for single-blog posts, news items or static page main content. Remember that article is sectioning content: it creates a sub-section of the document. But in these cases, the document is the content, and the content is the document. Setting aside the name of the element, why would we want to create a sub-section of a document before it has even begun?

Remember, you can still use div!

hgroup

This is the final item in the list of things to watch out for, and it’s very easy to understand. The hgroup element can contain only headings (h1 to h6), and its purpose is to remove all but the highest-level heading it contains from the outline.

It has been and continues to be the subject of controversy, and its inclusion in the specification is by no means a given. However, for now, it does exactly what it says on the tin: it groups headings into one, as far as the outlining algorithm is concerned.

In Conclusion

The logic behind the document outlining algorithm can be hard to grasp, and the spec can sometimes feel like physics: understandable as you’re reading it, but when you try to confirm your understanding, it dissolves and you find yourself re-reading it again and again.

But if you remember the basics — that section, article, aside and nav create sub-sections on Web pages — then you are 90% of the way there. Get used to marking up content with sectioning elements and to checking your pages in the outliner, because the more you practice creating well-outlined documents, the sooner you will grasp the algorithm.

I promise, you will have it cracked after only a handful of times, and you will never look back. And from that moment on, every Web page you create will be structured, semantic, robust, well-outlined content.

Other Resources

(al)


© Derek Johnson for Smashing Magazine, 2011.


Batch Processing: 25 Tools and Techniques for Images and Documents


  

Converting images or files by hand can be a hugely time-consuming process. But how often do clients send us files in formats that can’t be directly used on their website or project? If you’re like most designers, your answer is probably “pretty often.”

Batch processing takes a lot of the headache out of converting, resizing, or otherwise manipulating image or document files. There are some fantastic tools and techniques out there that can make performing these batch processes nearly painless. In most cases, you want to choose the most efficient tool that can do what you need.

Image Processing

I’m sure a lot of designers turn to Photoshop whenever they need to batch process some images, but if all you need to do is resize a dozen images, it’s kind of overkill. Or what if you need to resize 100 million images or more? Photoshop isn’t exactly the most efficient way to do that. The tools and techniques below can handle a variety of batch processing tasks, so take the time to research each one and then pick the one appropriate for your task.

Techniques

These techniques will show you everything from processing over a hundred million images in a batch to how to resize a few photos at once using software already found on a Mac.

Batch Processing Millions and Millions of Images

What would you do if you had to resize 135 million images? That’s exactly what Etsy had to do when redesigning their website. Resizing by hand would take well over a hundred years to complete, even if you worked around the clock. So obviously that’s not an option. This article explains the techniques and tools they used to get it done in just 9 days.

How to Batch Resize Images Without a Photo Editing Program on Your Mac

This tutorial from eHow shows how to use Automator to batch resize your images without the need to use a graphics program.

Why “Preview” is the Best Batch Photo Resizer for Mac

This article gives a quick technique for batch resizing images you have open in Preview. It’s a great option if you only need to resize a few dozen images, though obviously it wouldn’t work for significantly larger batches.

Batch Processing and Cropping using Actions Scripting

This tutorial will show you how to create Action Scripts in Photoshop to perform complex batch processing on images.

Batch Processing Images in Photoshop

This tutorial from the Wired How To Wiki shows simple steps for setting up actions for batch processing. The example given is for resizing images for web, but the same basic instructions can be used for creating more complex actions.

Creating Actions for Batch Processing

This tutorial will show you how to record more complicated actions that can then be used for batch processing, with screenshots for each step.

Tools

If the above techniques don’t work for you, then maybe one of the tools below can do what you need. There’s everything from simple file re-namers to tools that can perform relatively complex image editing in batches.

BDSizer

If your batch imaging needs are limited to resizing photos and resaving with a maximum file size, then the free BDSizer (Windows) might be just what you’re looking for.

FastStone Photo Resizer

FastStone (Windows) allows for more than just batch resizing. You can also rename, crop, rotate, change color depth, or add text and watermarks.

BIMP (Batch Image Processor)

BIMP (Windows) is another free batch image processor with a lot of controls over not only the image but also the file name (it can, for example, remove spaces and underscores, or rename using sequential numbering).

Phatch

Phatch is a cross-platform (for Linux, Mac OS X, and Windows) batch image processor that lets you resize, rotate, invert, flip, watermark, shadow, and more with your images.

Sizerox

Sizerox is a Mac-only batch image resizer that also lets you rotate, rename, crop, and watermark your images using a drag-and-drop interface.

EasyBatchPhoto

EasyBatchPhoto (Mac) lets you perform resizing, watermarking, and other common repetitive tasks with an easy to use interface and smooth workflow. It’s $23.95 for a single user license.

QuickScale

QuickScale (Mac) lets you quickly resize or crop images and re-save them with a simple and clean GUI. It also supports watermarking of images.

Pixillion Image Converter Software

Pixillion (Mac) can convert your images, resize and rotate them, adjust the quality of JPEG files, add captions, and more. There’s a free version for non-commercial use or a paid version for commercial users.

Advanced Batch Converter 5.6

Advanced Batch Converter (Windows) can convert from over 180 file types into 44 common file formats (including jpg, png, and tiff). It can also resize, rotate, flip, mirror, crop, filter, watermark, or perform other functions on your images. It’s $69.95 for a personal non-commercial license or $139.95 for a business license.

DBP (David’s Batch Processor)

DBP is a GIMP plugin for batch processing images, and can be used for color correction, resizing, cropping, sharpening, renaming, and more.

BatchBlitz

BatchBlitz (Windows) is a free program that can categorize, filter and batch edit your images.

Rename Master

Rename Master (Windows) is the perfect solution if all you need to do is rename a batch of image (or other) files.

Document Processing Tools

Images aren’t the only kinds of files that need batch processing. How often has your client sent you a series of PDF files with all the content for their website, including images? Maybe they’re even password-protected PDFs, which means you can’t just copy and paste the information into text files. And it’s not just PDFs you might need to convert; there are also Excel spreadsheets, Word documents, and more. The tools below can make batch processing these files a lot faster and easier.

Tools

PDF Creator

PDF Creator can batch process your Microsoft Word documents into PDFs without the need for Adobe Acrobat.

HTML Batch Editor

HTML Batch Editor can batch process HTML, text or other files, including binary ones. It can be used for a variety of purposes, including renaming thousands of files while relinking relevant hyperlinks.

PDF to Text Converter

PDF to Text Converter (Windows) can convert a batch of PDFs into plain text documents, while helping preserve layout features.

AnyBizSoft PDF Converter for Mac

PDF Converter for Mac can batch convert your PDF files to Word documents, Excel spreadsheets, text files, PowerPoint presentations, HTML documents, and EPUB eBooks.

DocuFi Batch

DocuFi Batch lets you split, name, and route scanned files in a single step. It includes barcode recognition, image cleanup, and blank page detection. It also includes redaction technology for removing sensitive material, and can apply DRM to your PDF files.

HTML Enforcer (alpha)

HTML Enforcer is an alpha release that can let you edit a batch of HTML files with a single click. Change things like title and meta tags, remove unnecessary tags, or insert a tag or JS file throughout the whole site.

Batch Text & HTML Editor

Batch Text & HTML Editor makes it easy to process a number of text or HTML files at one time. You can replace words or lines, insert words, remove empty lines, remove words or phrases, and more.

Total HTML Converter

Total HTML Converter ($49.90) can convert your HTML files to Word documents in seconds. If the page being converted has Flash content, Total HTML Converter includes a screenshot of that content, and it lets you add footer and header text or a watermark.

Batch PDF Password Remover

I’m sure a lot of people would look at a program like this and immediately think that it was only useful if you were trying to pirate content or otherwise do something illegal. But the truth is, sometimes clients send us PDFs with password protection that they need us to get content from, but for whatever reason they can’t give us the password (maybe they don’t even know it). That’s where tools like this come in handy.

Conclusion

Whatever your batch processing needs are, there are certainly tools and techniques out there that can help you quickly convert or manipulate your files in whatever way necessary. Use the above as a starting point for finding your own useful batch processing tools (and feel free to share your findings in the comments).

(rb)


Do not use display:none to visually hide content intended for screen readers

When auditing websites for accessibility I occasionally find elements that are incorrectly hidden with display:none. The most common example is probably skip links intended to help keyboard and screen reader users. The irony is that those well-intended skip links are made useless by display:none.

The pitfalls of using display:none have been widely known among accessibility-conscious web developers for many years (in Web terms). As I mentioned a couple of years ago in Hiding with CSS: Problems and solutions, setting an element’s display CSS property to none makes it completely invisible. It doesn’t generate a box, it doesn’t take up any place, it doesn’t affect the layout. display:none hides the element – and its descendants – visually, and it also hides the element from screen readers (most screen readers most of the time – see JAWS, Window-Eyes and display:none: Return to 2007 for more).

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Copyright © Roger Johansson



Mind Your En And Em Dashes: Typographic Etiquette

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An understanding of typographic etiquette separates the master designers from the novices. A well-trained designer can tell within moments of viewing a design whether its creator knows how to work with typography. Typographic details aren’t just inside jokes among designers. They have been built up from thousands of years of written language, and applying them holds in place long-established principles that enable typography to communicate with efficiency and beauty.

Handling these typographic details on the Web brings new challenges and restrictions that need to be considered. Below are a few rules of thumb that will have you using typography more lucidly than ever before.

Setting Body Copy

Good typography comes down to communicating information, and the basis of information is good old-fashioned body copy  –  simple blocks of text. Here are a few ways to make your blocks of text nice and clean.

Indentation or Space After a Paragraph?

When signalling the end of a paragraph and the beginning of another, you can generally either indent or insert a space between the paragraphs. Doing both is redundant and creates awkward, irregular chunks of white space.

Paragraphs in Mind Your En And Em Dashes: Typographic Etiquette

Indentation
Indent the first line of a new paragraph about 1 em (if your font size is 12px, then that would amount to 12 pixels). Indenting the opening paragraph of a new section would be redundant, because that paragraph would be the first in that page or section anyway.

Space after paragraph
A full line break of 1 em (like when you hit the “Return� key twice) is generally more than enough to signal a new paragraph. About 0.8 ems is sufficient.

Ragged-right in Mind Your En And Em Dashes: Typographic Etiquette

Text set flush left (or ragged-right) creates an even texture and is easier to read. Because the Web allows for less typographic control, justified type usually creates rivers and big gaps in blocks of text.

Flush left (ragged-right)
In text set flush left, the lines will break naturally, resulting in a “ragged� right side of the column. This is generally considered easier to read because the eye can better distinguish one line from the next, because of the different line lengths. Additionally, studies have shown that readers score higher in comprehension and recall when text is flush left. Hyphenation should not be used with text that is flush left, because that would defeat the whole point of a ragged right.

Avoid justified type on the Web
Justified text is spaced out so that each line is of the same length. Because all lines have to be set at the same length, some variation in letter spacing (i.e. the space between letters), and word spacing (the space between words) is done to lengthen and shorten lines. This changes the overall texture of the body copy, making it less even.

High-end desktop publishing applications (such as Adobe InDesign) have sophisticated systems for justifying type so that it doesn’t produce “rivers� (large gaps in the text from too much word spacing). They use a combination of letter spacing, word spacing, hyphenation and glyph scaling (i.e. very slightly adjusting the width of individual letters) to produce an even texture in the body copy.

But there is no hyphenation control in CSS. Beyond JavaScript libraries that handle hyphenation and CSS3’s text-justify property, browsers don’t have very sophisticated measures for maintaining an even texture in blocks of text. This makes justified text on the Web highly susceptible to big holes and rivers in the body text.

Avoiding justified type on the Web is generally a good idea. At the optimal line length for reading (about 50 to 80 characters or 8 to 15 words), making lines of text all the same length, without hyphenation or subtle letter spacing, nearly always results in rivers.

One Space After a Period. Not Two.

Very few typographic debates match the intensity of whether there should be one or two spaces after a sentence.

This practice is a holdover from typographers of the Victorian era. The practice began when typewriters were introduced. Because early typewriters used monospaced fonts (meaning that the spaces between letters were always the same length), typists used two spaces to mimic the slightly wider spaces that typesetters were using after periods. Now that computers (and the fonts on them) are equipped with proportionally spaced (rather than monospaced) fonts, this practice is outdated, and it creates awkward breaks in the body text.

One-space in Mind Your En And Em Dashes: Typographic Etiquette

One space after a period is plenty to signal the end of a sentence. It also keeps the text block even.

For those who are still skeptical, consider this: the beginning of a new sentence is already indicated by a period, a full space and a capital letter. Adding yet another space merely pokes a hole in the body text and interrupts the flow of reading.

The typist may wish to continue using two spaces after a period, but the typographer should not.

Use Dashes Dashingly

Most fonts are equipped with at least two dashes: an en dash (–, &ndash;, which is the width of a lowercase “n�) and an em dash (—, &mdash;, which is the width of a lowercase “m�). Don’t confuse these with the hyphen (-), which isn’t a dash at all but a punctuation mark.

Dashes in Mind Your En And Em Dashes: Typographic Etiquette

The Hyphen

Hyphens and dashes are confused to the point that they are now used almost interchangeably by some. Some fonts, such as Adobe Garamond Pro, retain hyphens in their original form; those hyphens look more like the diagonal stroke of a calligrapher’s pen than a straight horizontal line. You’ll also often see hyphens used as a replacement for a minus sign; however, a longer character is available in some fonts for this purpose.

Although the hyphen does look quite a bit like a dash or minus sign, it is a punctuation mark. It should be used primarily to hyphenate words in justified type. On the Web, this isn’t much of a concern because, as mentioned, there is no standard hyphenation control in browsers. The hyphen should also be used in compound modifiers (such as “fine-tuned�), to join digits in phone numbers, and in a few other rare cases (covered in detail on Wikipedia).

The En Dash and the Em Dash

In The Elements of Typographic Style – which is the unofficial bible of the modern typographer  –  Robert Bringhurst recommends that dashes in text should be the en dash flanked by two spaces. This is much less visually disruptive than using the em dash with no space—which is recommended in editorial style books such as The Chicago Manual of Style — because there is less tension between the dash and the characters on either side of it.

Why go against The Chicago Manual of Style in this case? The reason is that style manuals are concerned mostly with punctuation, not typography. An en dash surrounded by spaces achieves the same effect as an em dash with no spaces, but typographically it is less disruptive. This was a big debate between my editor and me when I was writing my book.

The practice of using two hyphens for a dash is a holdover from the days of typewriters. Besides being visually disruptive to smooth blocks of text, it is now unnecessary with the richer character sets that are available to typographers.

The en dash is also used to indicate ranges of numbers (such as “7–10 days�), although it isn’t flanked by spaces in this case.

Use Smart Quotes, Dummy

The quotation mark that is produced when you type ” on your computer is not a true quotation mark (unless your word processing or page layout program has automatic formatting). True quotes are sometimes called “smart quotes,â€� and the right one must be used according to whether you are opening or closing a quotation. To open a quotation, use “ (&ldquo;), and to close a quotation, use â€� (&rdquo;). For opening single quotes, use ‘ (&lsquo;), and for closing single quotes and apostrophes, use ’ (&rsquo;). CMS’ such as WordPress usually either convert dumb quotes to smart quotes automatically or have plug-ins for the job.

Smart-quotes in Mind Your En And Em Dashes: Typographic Etiquette

Smart Quotes in Action

CNN uses dumb quotes, which look clunky and lifeless, while The New York Times uses smart quotes, which look clean and sophisticated:

Smart-quotes-cnn-nyt in Mind Your En And Em Dashes: Typographic Etiquette

Smart quotes are so sexy that their sinuous forms can be used as ornamentation, such as in this pull quote on Jason Santa Maria’s blog, which features smart quotes only in shadow form:

Smart-quotes-santamaria in Mind Your En And Em Dashes: Typographic Etiquette

Quotation Marks Don’t Measure Up

The ” and ‘ on your keyboard are also often used to designate feet and inches (Steve Jobs is 6′ 2″). This, too, is technically incorrect. For feet, you should use ′ (&prime;), and for inches, ″ (&Prime;). (Steve Jobs is, in fact, 6′ 2″.)

Prime in Mind Your En And Em Dashes: Typographic Etiquette

Note that many desktop publishing programs are so advanced that they automatically (and incorrectly) insert “smart� apostrophes and quotation marks in all of these situations. This can be changed in the program’s settings, but the quickest way around this is simply to copy and paste the correct mark from a “less sophisticated� text editor.

+1 For Proper Math Symbols

Sometimes in our haste, we use the wrong marks for math symbols. For example, as we learned above, a hyphen is not a minus sign (−, &minus;). Additionally (no pun intended), neither an x nor an asterisk (*) is a multiplication symbol (×, &times;).

Math-symbols in Mind Your En And Em Dashes: Typographic Etiquette

Proper fractions not only add elegance to typography, but are more readily recognizable. Using a slash in your fractions (1/3) is not ½ (&frac12;) as cool as using the proper vulgar fraction (as it’s called).

Certain other symbols are harder to substitute with common characters, such as when you write 98¢ (&cent;) and 104° F (&deg;). You might be tempted to just type these out as “cents� and “degrees.�

There’s Always More With Ellipses

Sometimes, there’s more than meets the eye. Most of us type the ellipsis as three periods (…), but most fonts come equipped with their own character (…, &hellip;) that is slightly more spaced out. The Chicago Manual of Style would have you think that the proper ellipsis consists of periods separated by spaces (. . .), but any typographer knows that is too disruptive to body text. Some typographers prefer to set their own ellipses by using thin spaces (&thinsp;) between periods (. . .). But your judgment is best; pick the ellipsis treatment that makes your text block look most consistent (which will never be with full spaces between periods.)

Accent Marks And Other Diacritics Aren’t Passé

Sure, in the US you can work on your resume while sitting in a cafe, and it wouldn’t be much different than if you were working on your résumé in a café in France. No matter how naïve you are, sometimes using the proper diacritical mark is… critical. A diacritic is a mark placed near (usually above or below) a letter to change its sound. The most common diacritic in English is the acute (´) accent, which is used in a number of words borrowed from other languages and which is sometimes very important, such as for the sake of declaring your passion for saké.

Diacritics in Mind Your En And Em Dashes: Typographic Etiquette

The acute accent is often confused with the grave accent (`), which leans to the left and is readily available on US keyboards below the tilde (~). The grave accent is actually much less common in English than the acute accent. If you ever see one again, you might think you were having a dèjá vu.

To insert an acute accent on Mac OS X, hold down Option while typing “e,� and then type the letter that you want to appear below the accent (so, if you want “é,� you’d be typing “e� twice). Play around with Option + u, i and ~, and a whole world of diacritics will open for you.

Ligatures Bring Letters Together

In the early days of printing, when type was set in lead, the lead slugs on which characters were set made it difficult to set certain character pairs close enough. For example, in the letter combination “fi,� the top terminal of the “f� stuck out so far that the letter couldn’t be set close enough to the “i� because of the dot on the “i.� Thus, many fonts (usually the classic ones, such as Adobe Garamond) have ligatures for certain pairings that actually meld the letterforms together. Some modern fonts, such as Helvetica, also have ligatures, but their effect is negligible.

Below, you can see that ligatures are needed in some fonts more than others. Notice how an “fi� ligature is more critical to clean typography in Adobe Garamond than it is in Helvetica. Because of this, different fonts come with different ligatures.

Ligatures in Mind Your En And Em Dashes: Typographic Etiquette

In addition to “fi,� ligatures are most commonly needed for the groupings “fl,� “ff,� “ffi� and “ffl.� Below you can see that Apple makes beautiful use of the “ffl� ligature in the type treatment of “iPod shuffle.�

Shuffle-ligature in Mind Your En And Em Dashes: Typographic Etiquette

Using Ligatures Practically

Obviously, typing in ligatures every time you need them is impractical. Even if you did, your content might not ultimately be displayed in a font that is equipped with the appropriate characters. Fortunately, plug-ins such as jQuery’s Ligature.js will automatically insert the most commonly supported ligatures where appropriate.

But, be careful: even if the proper characters are available, you might make it difficult for users to search for text on the page. Currently, Internet Explorer and WebKit-based browsers such as Chrome and Safari match ligatures to their corresponding letter pairs when the search command is used (for example, when a user searches for “fig� on the page), whereas Firefox does not.

CSS3′s font-variant-ligatures Property

CSS3’s font-variant-ligatures property displays the proper ligatures without interfering with the actual HTML code of the page, thus preserving full functionality of the search command in all browsers. In this case, while Internet Explorer, Chrome and Safari do not currently support this property, Firefox does.

So, if you apply ligatures at the content level, then your Firefox users won’t be able to use the search command for them. And if you use font-variant-ligatures, only your Firefox users will see the ligatures. Because of the spotty browser support for ligatures, ignoring ligatures altogether in the body copy would not be unreasonable. A lack of ligatures in big headlines and headings might be more obvious, though, so picking your preferred method of support there might be worthwhile.

Being Reasonable

Obviously, keeping track of and implementing some of these typographic details might seem pretty tedious. Fortunately, most Web frameworks and CMS’ have plug-ins that take care of them for you, and some of CSS3’s typography controls are at least beginning to be supported in browsers.

But as with all matters of design and production, economy comes into play. You may decide that implementing some of these details just isn’t worth the trouble. What’s important is at least knowing typographic etiquette, so that you can rely on it when it matters and make wise decisions that are appropriate for your project.

Other Resources

You may be interested in the following articles and related resources:

This post is based upon a chapter from David’s upcoming book, Design for Hackers: Reverse-Engineering Beauty, which will be published in September 2011.

(al)


© David Kadavy for Smashing Magazine, 2011.


Mind Your En And Em Dashes: Typographic Etiquette

Advertisement in Mind Your En And Em Dashes: Typographic Etiquette
 in Mind Your En And Em Dashes: Typographic Etiquette  in Mind Your En And Em Dashes: Typographic Etiquette  in Mind Your En And Em Dashes: Typographic Etiquette

An understanding of typographic etiquette separates the master designers from the novices. A well-trained designer can tell within moments of viewing a design whether its creator knows how to work with typography. Typographic details aren’t just inside jokes among designers. They have been built up from thousands of years of written language, and applying them holds in place long-established principles that enable typography to communicate with efficiency and beauty.

Handling these typographic details on the Web brings new challenges and restrictions that need to be considered. Below are a few rules of thumb that will have you using typography more lucidly than ever before.

Setting Body Copy

Good typography comes down to communicating information, and the basis of information is good old-fashioned body copy  –  simple blocks of text. Here are a few ways to make your blocks of text nice and clean.

Indentation or Space After a Paragraph?

When signalling the end of a paragraph and the beginning of another, you can generally either indent or insert a space between the paragraphs. Doing both is redundant and creates awkward, irregular chunks of white space.

Paragraphs in Mind Your En And Em Dashes: Typographic Etiquette

Indentation
Indent the first line of a new paragraph about 1 em (if your font size is 12px, then that would amount to 12 pixels). Indenting the opening paragraph of a new section would be redundant, because that paragraph would be the first in that page or section anyway.

Space after paragraph
A full line break of 1 em (like when you hit the “Return� key twice) is generally more than enough to signal a new paragraph. About 0.8 ems is sufficient.

Ragged-right in Mind Your En And Em Dashes: Typographic Etiquette

Text set flush left (or ragged-right) creates an even texture and is easier to read. Because the Web allows for less typographic control, justified type usually creates rivers and big gaps in blocks of text.

Flush left (ragged-right)
In text set flush left, the lines will break naturally, resulting in a “ragged� right side of the column. This is generally considered easier to read because the eye can better distinguish one line from the next, because of the different line lengths. Additionally, studies have shown that readers score higher in comprehension and recall when text is flush left. Hyphenation should not be used with text that is flush left, because that would defeat the whole point of a ragged right.

Avoid justified type on the Web
Justified text is spaced out so that each line is of the same length. Because all lines have to be set at the same length, some variation in letter spacing (i.e. the space between letters), and word spacing (the space between words) is done to lengthen and shorten lines. This changes the overall texture of the body copy, making it less even.

High-end desktop publishing applications (such as Adobe InDesign) have sophisticated systems for justifying type so that it doesn’t produce “rivers� (large gaps in the text from too much word spacing). They use a combination of letter spacing, word spacing, hyphenation and glyph scaling (i.e. very slightly adjusting the width of individual letters) to produce an even texture in the body copy.

But there is no hyphenation control in CSS. Beyond JavaScript libraries that handle hyphenation and CSS3’s text-justify property, browsers don’t have very sophisticated measures for maintaining an even texture in blocks of text. This makes justified text on the Web highly susceptible to big holes and rivers in the body text.

Avoiding justified type on the Web is generally a good idea. At the optimal line length for reading (about 50 to 80 characters or 8 to 15 words), making lines of text all the same length, without hyphenation or subtle letter spacing, nearly always results in rivers.

One Space After a Period. Not Two.

Very few typographic debates match the intensity of whether there should be one or two spaces after a sentence.

This practice is a holdover from typographers of the Victorian era. The practice began when typewriters were introduced. Because early typewriters used monospaced fonts (meaning that the spaces between letters were always the same length), typists used two spaces to mimic the slightly wider spaces that typesetters were using after periods. Now that computers (and the fonts on them) are equipped with proportionally spaced (rather than monospaced) fonts, this practice is outdated, and it creates awkward breaks in the body text.

One-space in Mind Your En And Em Dashes: Typographic Etiquette

One space after a period is plenty to signal the end of a sentence. It also keeps the text block even.

For those who are still skeptical, consider this: the beginning of a new sentence is already indicated by a period, a full space and a capital letter. Adding yet another space merely pokes a hole in the body text and interrupts the flow of reading.

The typist may wish to continue using two spaces after a period, but the typographer should not.

Use Dashes Dashingly

Most fonts are equipped with at least two dashes: an en dash (–, &ndash;, which is the width of a lowercase “n�) and an em dash (—, &mdash;, which is the width of a lowercase “m�). Don’t confuse these with the hyphen (-), which isn’t a dash at all but a punctuation mark.

Dashes in Mind Your En And Em Dashes: Typographic Etiquette

The Hyphen

Hyphens and dashes are confused to the point that they are now used almost interchangeably by some. Some fonts, such as Adobe Garamond Pro, retain hyphens in their original form; those hyphens look more like the diagonal stroke of a calligrapher’s pen than a straight horizontal line. You’ll also often see hyphens used as a replacement for a minus sign; however, a longer character is available in some fonts for this purpose.

Although the hyphen does look quite a bit like a dash or minus sign, it is a punctuation mark. It should be used primarily to hyphenate words in justified type. On the Web, this isn’t much of a concern because, as mentioned, there is no standard hyphenation control in browsers. The hyphen should also be used in compound modifiers (such as “fine-tuned�), to join digits in phone numbers, and in a few other rare cases (covered in detail on Wikipedia).

The En Dash and the Em Dash

In The Elements of Typographic Style – which is the unofficial bible of the modern typographer  –  Robert Bringhurst recommends that dashes in text should be the en dash flanked by two spaces. This is much less visually disruptive than using the em dash with no space—which is recommended in editorial style books such as The Chicago Manual of Style — because there is less tension between the dash and the characters on either side of it.

Why go against The Chicago Manual of Style in this case? The reason is that style manuals are concerned mostly with punctuation, not typography. An en dash surrounded by spaces achieves the same effect as an em dash with no spaces, but typographically it is less disruptive. This was a big debate between my editor and me when I was writing my book.

The practice of using two hyphens for a dash is a holdover from the days of typewriters. Besides being visually disruptive to smooth blocks of text, it is now unnecessary with the richer character sets that are available to typographers.

The en dash is also used to indicate ranges of numbers (such as “7–10 days�), although it isn’t flanked by spaces in this case.

Use Smart Quotes, Dummy

The quotation mark that is produced when you type ” on your computer is not a true quotation mark (unless your word processing or page layout program has automatic formatting). True quotes are sometimes called “smart quotes,â€� and the right one must be used according to whether you are opening or closing a quotation. To open a quotation, use “ (&ldquo;), and to close a quotation, use â€� (&rdquo;). For opening single quotes, use ‘ (&lsquo;), and for closing single quotes and apostrophes, use ’ (&rsquo;). CMS’ such as WordPress usually either convert dumb quotes to smart quotes automatically or have plug-ins for the job.

Smart-quotes in Mind Your En And Em Dashes: Typographic Etiquette

Smart Quotes in Action

CNN uses dumb quotes, which look clunky and lifeless, while The New York Times uses smart quotes, which look clean and sophisticated:

Smart-quotes-cnn-nyt in Mind Your En And Em Dashes: Typographic Etiquette

Smart quotes are so sexy that their sinuous forms can be used as ornamentation, such as in this pull quote on Jason Santa Maria’s blog, which features smart quotes only in shadow form:

Smart-quotes-santamaria in Mind Your En And Em Dashes: Typographic Etiquette

Quotation Marks Don’t Measure Up

The ” and ‘ on your keyboard are also often used to designate feet and inches (Steve Jobs is 6′ 2″). This, too, is technically incorrect. For feet, you should use ′ (&prime;), and for inches, ″ (&Prime;). (Steve Jobs is, in fact, 6′ 2″.)

Prime in Mind Your En And Em Dashes: Typographic Etiquette

Note that many desktop publishing programs are so advanced that they automatically (and incorrectly) insert “smart� apostrophes and quotation marks in all of these situations. This can be changed in the program’s settings, but the quickest way around this is simply to copy and paste the correct mark from a “less sophisticated� text editor.

+1 For Proper Math Symbols

Sometimes in our haste, we use the wrong marks for math symbols. For example, as we learned above, a hyphen is not a minus sign (−, &minus;). Additionally (no pun intended), neither an x nor an asterisk (*) is a multiplication symbol (×, &times;).

Math-symbols in Mind Your En And Em Dashes: Typographic Etiquette

Proper fractions not only add elegance to typography, but are more readily recognizable. Using a slash in your fractions (1/3) is not ½ (&frac12;) as cool as using the proper vulgar fraction (as it’s called).

Certain other symbols are harder to substitute with common characters, such as when you write 98¢ (&cent;) and 104° F (&deg;). You might be tempted to just type these out as “cents� and “degrees.�

There’s Always More With Ellipses

Sometimes, there’s more than meets the eye. Most of us type the ellipsis as three periods (…), but most fonts come equipped with their own character (…, &hellip;) that is slightly more spaced out. The Chicago Manual of Style would have you think that the proper ellipsis consists of periods separated by spaces (. . .), but any typographer knows that is too disruptive to body text. Some typographers prefer to set their own ellipses by using thin spaces (&thinsp;) between periods (. . .). But your judgment is best; pick the ellipsis treatment that makes your text block look most consistent (which will never be with full spaces between periods.)

Accent Marks And Other Diacritics Aren’t Passé

Sure, in the US you can work on your resume while sitting in a cafe, and it wouldn’t be much different than if you were working on your résumé in a café in France. No matter how naïve you are, sometimes using the proper diacritical mark is… critical. A diacritic is a mark placed near (usually above or below) a letter to change its sound. The most common diacritic in English is the acute (´) accent, which is used in a number of words borrowed from other languages and which is sometimes very important, such as for the sake of declaring your passion for saké.

Diacritics in Mind Your En And Em Dashes: Typographic Etiquette

The acute accent is often confused with the grave accent (`), which leans to the left and is readily available on US keyboards below the tilde (~). The grave accent is actually much less common in English than the acute accent. If you ever see one again, you might think you were having a déjà vu.

To insert an acute accent on Mac OS X, hold down Option while typing “e,� and then type the letter that you want to appear below the accent (so, if you want “é,� you’d be typing “e� twice). Play around with Option + u, i and ~, and a whole world of diacritics will open for you.

Ligatures Bring Letters Together

In the early days of printing, when type was set in lead, the lead slugs on which characters were set made it difficult to set certain character pairs close enough. For example, in the letter combination “fi,� the top terminal of the “f� stuck out so far that the letter couldn’t be set close enough to the “i� because of the dot on the “i.� Thus, many fonts (usually the classic ones, such as Adobe Garamond) have ligatures for certain pairings that actually meld the letterforms together. Some modern fonts, such as Helvetica, also have ligatures, but their effect is negligible.

Below, you can see that ligatures are needed in some fonts more than others. Notice how an “fi� ligature is more critical to clean typography in Adobe Garamond than it is in Helvetica. Because of this, different fonts come with different ligatures.

Ligatures in Mind Your En And Em Dashes: Typographic Etiquette

In addition to “fi,� ligatures are most commonly needed for the groupings “fl,� “ff,� “ffi� and “ffl.� Below you can see that Apple makes beautiful use of the “ffl� ligature in the type treatment of “iPod shuffle.�

Shuffle-ligature in Mind Your En And Em Dashes: Typographic Etiquette

Using Ligatures Practically

Obviously, typing in ligatures every time you need them is impractical. Even if you did, your content might not ultimately be displayed in a font that is equipped with the appropriate characters. Fortunately, plug-ins such as jQuery’s Ligature.js will automatically insert the most commonly supported ligatures where appropriate.

But, be careful: even if the proper characters are available, you might make it difficult for users to search for text on the page. Currently, Internet Explorer and WebKit-based browsers such as Chrome and Safari match ligatures to their corresponding letter pairs when the search command is used (for example, when a user searches for “fig� on the page), whereas Firefox does not.

CSS3′s font-variant-ligatures Property

CSS3’s font-variant-ligatures property displays the proper ligatures without interfering with the actual HTML code of the page, thus preserving full functionality of the search command in all browsers. In this case, while Internet Explorer, Chrome and Safari do not currently support this property, Firefox does.

So, if you apply ligatures at the content level, then your Firefox users won’t be able to use the search command for them. And if you use font-variant-ligatures, only your Firefox users will see the ligatures. Because of the spotty browser support for ligatures, ignoring ligatures altogether in the body copy would not be unreasonable. A lack of ligatures in big headlines and headings might be more obvious, though, so picking your preferred method of support there might be worthwhile.

Being Reasonable

Obviously, keeping track of and implementing some of these typographic details might seem pretty tedious. Fortunately, most Web frameworks and CMS’ have plug-ins that take care of them for you, and some of CSS3’s typography controls are at least beginning to be supported in browsers.

But as with all matters of design and production, economy comes into play. You may decide that implementing some of these details just isn’t worth the trouble. What’s important is at least knowing typographic etiquette, so that you can rely on it when it matters and make wise decisions that are appropriate for your project.

Other Resources

You may be interested in the following articles and related resources:

This post is based upon a chapter from David’s upcoming book, Design for Hackers: Reverse-Engineering Beauty, which will be published in September 2011.

(al)


© David Kadavy for Smashing Magazine, 2011.


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