Design

Useful Resources, Tools and Services for Web Designers

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Productivity is a crucial asset of professional Web designers and developers. We regularly look for new resources, tools and services to make the search of these ever-growing techniques easier. Once we have a reasonable number of useful resources, we prepare them in a handy overview for your convenience. In this post we present some of the useful resources and tools for designers and Web developers.

Please don’t hesitate to comment to this post and let us know how exactly you use these tools in your workflow. Please do avoid link dropping and share your insights and your experience instead. A big thank you to all designers and developers out there for releasing and producing useful, valuable resources for all of us to use. We sincerely appreciate it.

Useful Resources and Websites

Method & Craft
Describing itself as “the DVD extras of design,� this site offers a behind-the-scenes look at different designs, including how they were achieved, the techniques used and how the designers have grown in their professional careers.

Useful-resources-219 in Useful Resources, Tools and Services for Web Designers

DesignersMX
This site is dedicated to finding out which tunes keep designers around the globe rolling and get their creative juices flowing. Just sign up, log in and share your own compilation of fresh beats and bright tunes.

Useful-resources-223 in Useful Resources, Tools and Services for Web Designers

Little Big Details
This site features tiny details that help improve the user experience of websites and mobile apps. You can also share your favorite little things on the website. The collection is very useful — with more design examples submitted regularly.

Useful-resources-231 in Useful Resources, Tools and Services for Web Designers

Shady Characters
This blog, owned by Keith Houston, aims to shed light on the history of both well-known and outlandish marks of punctuation. It’s an interesting study in the stories behind the punctuation we use every day.

Useful-resources-224 in Useful Resources, Tools and Services for Web Designers

An Illustrated Guide
This project reviews some of the notable picture books. Guide’s authors, Catherine and Matthew Buchanan, have collected many of them from the last decade. The books are categorized according to cover art styles and reading level.

Useful-resources-226 in Useful Resources, Tools and Services for Web Designers

CV PARADE
This website celebrates the art of the résumé — a great collection of different and unique CVs that might be useful for you if you are about to polish your own CV.

Useful-resources-172 in Useful Resources, Tools and Services for Web Designers

Comic Sans Criminal
The next time you see someone using Comic Sans inappropriately, consider sharing with them a link to this site which lays out the reasons why Comic Sans is misused and offers some helpful alternatives.

Useful-resources-201 in Useful Resources, Tools and Services for Web Designers

Where Do You Want To Work Today?
A simple way for freelancers, contractors and other nomadic workers to check out some great places where they can work in a different environment for a change.

Useful-resources-175 in Useful Resources, Tools and Services for Web Designers

Node Cloud
NodeCloud is a resource directory gathering sites related to Node.js and ordering them by their Alexa traffic, allowing to evaluate relative popularity of a project.

Node in Useful Resources, Tools and Services for Web Designers

WeekendHacker
This site provides a mailing list you can issue a cry for help for one of those tiny projects that cross your path — whether you’re a designer, developer, or both.

Useful-resources-192 in Useful Resources, Tools and Services for Web Designers

The Phraseology Project
Here you can submit a letter, word or phrase which is then turned into a beautiful design by the website’s founder, Drew Melton, or his colleagues.

Useful-resources-194 in Useful Resources, Tools and Services for Web Designers

Designers & Books
This projects presents short reviews of books that esteemed members of the design community identify as personally important, meaningful, and formative. Designers introduce one or more books that have influenced their ideas and values. You’ll also find members who have created must-read lists for different disciplines in design.

Books2 in Useful Resources, Tools and Services for Web Designers

Quotevadis
Quotevadis is a Tumblog that offers quotes from creative and intelligent individuals from both past and present. An excellent replacement for the dusty old “about:blank” page in your browser.

Useful-resources-213 in Useful Resources, Tools and Services for Web Designers

Let’s Swap
In case you’ve had a particular artistic piece hanging around for a while, you could try swapping it with other artists for prints, books, zines, original artwork, tshirts, sculptures, or any other objects.

Useful-resources-1151 in Useful Resources, Tools and Services for Web Designers

ideeeas
This project collects brainwaves from people who have brilliant, fancy ideas on any topic. There are posts with popular or useful social ideas that could make the world just a little better.

Useful-resources-217 in Useful Resources, Tools and Services for Web Designers

A Working Library
A great book cover definitely makes for a graceful entrance, but the thought of it disappears as you start reading the book. This website aims to explore the ways we read — without being overtly conscious of the cover design.

Useful-resources-218 in Useful Resources, Tools and Services for Web Designers

The Godfounder
A blog which showcases details that make Web apps successful, in particuliar little details that show designer’s attention to users’ needs.

Useful-resources-1121 in Useful Resources, Tools and Services for Web Designers

FPO: For Print Only
A blog dedicated to both visual stimulus and detailing of the development and production of printed matter such as annual reports, books, business cards, stationery suites, collateral materials, posters, packaging and anything else where ink meets substrate.

Useful-res-143 in Useful Resources, Tools and Services for Web Designers

What Software and Hardware Do Professionals Use?
A useful resource for people who love to keep discovering new tools. Browse these nerdy interviews and guaranteed, you will come across some new wonders, especially because every interviewee explains why they have chosen a particular tool.

Useful-resources-1051 in Useful Resources, Tools and Services for Web Designers

Browser Details for Tech Support
When in doubt, send your customers to the website Support Details. Their data will be automatically read out of the browser and sent directly to you via email or will be saved. The free service uses Flash but can also complete its task without it.

Supportdetails in Useful Resources, Tools and Services for Web Designers

The UX Bookmark
A resource for HCI and human factors professionals, usability engineers, interaction designers as well as information architects. You can submit a link if you feel that it would benefit the UX Design Community.

Useful-resources-1131 in Useful Resources, Tools and Services for Web Designers

Web Font Hosting Services Reviewed
A good overview of web font hosting services you can always look up when in doubt:

Useful-res-138 in Useful Resources, Tools and Services for Web Designers

Android Patterns
Design patterns, which are basically reusable solutions for recurring problems, can be found in many design niches. Recently, they’ve also turned up in user interface designs for Android apps. Android Patterns publishes a comprehensive set of interaction patterns that can help you design Android apps.

Useful-resources-220 in Useful Resources, Tools and Services for Web Designers

Useful Tools, Libraries, Plugins

Rapid Prototyping with flickrBomb
flickrBomb is a jQuery plugin that helps you quickly fill your prototypes with relevant content, and not just dull gray placeholder images when making a website.

Useful-resources-1011 in Useful Resources, Tools and Services for Web Designers

Unix Terminal/Console/Curses Tools
A nice list of 28 tools for the UNIX Terminal and Console. Some are little-known, some are just too useful to miss, some are pure obscure. You can use your operating system’s package manager to install most of them.

Useful-tools-106 in Useful Resources, Tools and Services for Web Designers

.htaccess tester
A very simple tool that lets you test your .htaccess rewrite rules. Simply fill in the URL that you’re applying the rules to, place the contents of your .htaccess on the larger input area and analyze if the rules are doing what they are supposed to do.

Htaccess in Useful Resources, Tools and Services for Web Designers

CSS Lint
CSS Lint is a useful tool to help you detect problems with your CSS code. It does basic syntax checking as well as applying a set of rules to the code that look for problematic patterns or signs of inefficiency. The rules are all pluggable, so you can easily write your own or omit ones you don’t want.

Csslint in Useful Resources, Tools and Services for Web Designers

Log.io
Here is a way how to perform real-time log monitoring in your browser. Harvesters watch log files for changes, send new log messages to the server, which broadcasts to Web clients. You can then create stream and history screens to view and search log messages.

Useful-tools-131 in Useful Resources, Tools and Services for Web Designers

Popuload for Adobe Photoshop
Rather than idly waiting for each processing task in Adobe Photoshop to finish, you can spend that time browsing the latest news feeds. Popuload has been programmed to detect when any Photoshop loading bar appears; it then appends to that loading bar window throughout the duration of the processing time.

Useful-resources-1061 in Useful Resources, Tools and Services for Web Designers

Asciiflow: ASCII Flow Diagram Tool
A simple Web based ASCII flow diagram drawing tool which allows you to draw boxes, lines, arrows and type and then export it straight to text or HTML.

Useful-resources-1081 in Useful Resources, Tools and Services for Web Designers

Microjs: Micro-Frameworks and Micro-Libraries
Microjs helps you discover the most compact-but-powerful microframeworks, and makes it easy for you to pick one that’ll work for you.

Useful-resources-1111 in Useful Resources, Tools and Services for Web Designers

Showoff
Demonstrating your ongoing projects could be a huge pain. In general, your best option is to upload the files to a server somewhere. You could prepare a video or send over a huge package of files or just .zip it somewhere on project collaboration website. But what if you just want to quickly show someone a project you’re working on without sending over the large files? This tool aims to solve this problem. If you’re looking for an alternative, you might want to consider LocalTunnel.

Useful-resources-198 in Useful Resources, Tools and Services for Web Designers

Meld
A visual diff and merge tool that lets you compare two or three files and edit them in place (diffs update dynamically). You can also compare two or three folders and launch file comparisons.

Useful-resources-103 in Useful Resources, Tools and Services for Web Designers

Convert Unix Time
A Unix timestamp (or epoch time) is the number of seconds that have elapsed since January 1, 1970 00:00 UTC. The mission of this site is to convert your timestamp into a human readable format and vice versa. You also might want to check out Epoch Converter.

Useful-tools-132 in Useful Resources, Tools and Services for Web Designers

Drush
This Drupal tool lets you install, download and uninstall modules and much more without even opening a Web browser.

Useful-resources-128 in Useful Resources, Tools and Services for Web Designers

Bones
A WordPress development theme that was created after years of editing and reusing the same template to develop custom sites. A nice, well organized boilerplate for developers of WordPress themes or designers using WordPress in their projects.

Useful-tools-153 in Useful Resources, Tools and Services for Web Designers

Fructose
Fructose is a subset of Ruby that’s designed to be compiled into PHP 5.x. The generated code should run on any PHP version above 5.0. Most major Ruby features are supported, including operator overloading and blocks. Eventually, most of the Ruby standard library will be available to Fructose programs via libfructose.

Useful-resources-155 in Useful Resources, Tools and Services for Web Designers

loads.in
By simply entering the URL here, you can test how fast a webpage loads in a real browser from over 50 locations worldwide.

Useful-tools-115 in Useful Resources, Tools and Services for Web Designers

WriteMaps
WriteMaps is a Web application that allows you to create, edit, and share your sitemaps online.

Useful-resources-1171 in Useful Resources, Tools and Services for Web Designers

Wirify
Wirify is a bookmarklet that lets you turn any Web page into a wireframe with a single click. The bookmarklet also helps you get rid of all distractions by blocking out copy, images and ads, letting you take a closer look at the website’s building blocks.

Useful-resources-216 in Useful Resources, Tools and Services for Web Designers

Lorempixum
Hand-selecting and inserting placeholder images in a layout can be a hassle. This tool takes care of that task by providing you with placeholder images for every possible usage, whether for Web design or print layout. Using it is simple: visit the website, pick the URL, define dimensions and category, and insert it in the layout. You can use the “Placeholder Generator,” which lets you specify the size, category and color settings of the placeholder image.

Useful-resources-200 in Useful Resources, Tools and Services for Web Designers

f.lux
This tool makes your display adapt to the lighting of the room you are in, all the time. During sunset, your screen mimics room light, and in the morning the tint resembles sunrise and its natural light. Configuring f.lux is easy: simply tell the control panel what kind of lighting your office has and where you live. The rest is taken care of automatically. The free tool is available for Windows, Mac and Linux.

Useful-resources-204 in Useful Resources, Tools and Services for Web Designers

Solarized
Solarized is a free custom palette of sixteen colors (including four background tones, four “content tones� and eight accent tones). The content and accent tones are visible on both the light and dark backgrounds and are based on established color theory principles.

Useful-resources-205 in Useful Resources, Tools and Services for Web Designers

Useful Services

PayPal Fee Calculator
A PayPal ‘percentage fee’ is determined by which country you are registered in and how much you receive every month via PayPal. The PayPal ‘fixed fee’ is determined by which currency the payment is sent in. This calculator helps you keep an overview of fees as well as currency conversions.

Useful-resources-125 in Useful Resources, Tools and Services for Web Designers

courteous.ly
A helpful way of letting people know your real time email load and when sending mails works best for you.

Useful-res-126 in Useful Resources, Tools and Services for Web Designers

ifttt (if this, then that)
This tool allows you to create simple “if then” actions based on common activities, and lets ifttt automate them. By triggering an email when the weather forecast predicts rain, this can help remind you to take your umbrella with you. The service is currently in private beta, but you can request an invite.

Useful-resources-196 in Useful Resources, Tools and Services for Web Designers

Unsubscribe.com
A fast way of unsubscribing from any mailing list by simply clicking on the emails you no longer wish to receive.

Useful-tools-105 in Useful Resources, Tools and Services for Web Designers

minutes.io: Take Notes Quickly and Easily
minutes.io lets you take notes in your browser even when you’re offline and waits until you’re online again so you can send and share with others right away.

Useful-res-125 in Useful Resources, Tools and Services for Web Designers

Doodle: Easy Scheduling
A great way to mutually agree when to meet by simply creating a poll, inviting participants and cofirming the date and time. Free of charge and without registration.

Useful-res-127 in Useful Resources, Tools and Services for Web Designers

Focus Booster
A simple and elegant application designed to help you eliminate the anxiety of time and enhance your focus and concentration.

Useful-tools-103 in Useful Resources, Tools and Services for Web Designers

Typography Insight iPad App
Typography Insight is an iPad application that introduces new methods for learning and teaching typefaces. The project stemmed from my love for typography and evolving mobile platforms

Useful-res-129 in Useful Resources, Tools and Services for Web Designers

FontDeals
This service is like Groupon, but for fonts. Various font deals from various type foundries are offered at lower prices.

Useful-resources-1141 in Useful Resources, Tools and Services for Web Designers

Last Click

Weave Silk
Is your desktop, motivation or even design work in need of something fresh, swirly and remarkable? Just weave some Silk! Yuri Vishnevsky created this experimental, magical interactive gimmick. You can spend minutes playing around with this little technique, based upon HTML5 Canvas: no Flash in use.

Useful-resources-232 in Useful Resources, Tools and Services for Web Designers

Keyboard Shortcut Skins for Macs
For all of you out there who are shortcut lovers, here are some amazing custom-fitted color-coded keyboard skins that will help you fly through Photoshop, Aperture, Final Cut Pro, and many more.

Keyboard in Useful Resources, Tools and Services for Web Designers

Ro.me: Three Dreams of Black
“3 Dreams of Black” is an interactive film by Chris Milk and some friends at Google that showcases the creative potential of WebGL. WebGL is a context of the HTML5 canvas element that enables hardware-accelerated 3D graphics in the web browser without a plug-in. This is why we &heart; the Web.

Useful-resources-1351 in Useful Resources, Tools and Services for Web Designers

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Five Useful Interactive CSS/jQuery Techniques Deconstructed

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With the wide variety of CSS3 and JavaScript techniques available today, it’s easier than ever to create unique interactive websites that delight visitors and provide a more engaging user experience.

In this article, we’ll walk through five interactive techniques that you can start using right now. We’ll cover:

  1. Animated text effects,
  2. Animated images without GIFs,
  3. More engaging drop-down menus,
  4. Fancier slideshow navigation,
  5. Animated icons for the hover state of buttons.

Besides learning how to accomplish these specific tasks, you’ll also master a variety of useful CSS and jQuery tricks that you can leverage when creating your own interactive techniques. The solutions presented here are certainly not perfect, so any thoughts, ideas and suggestions on how you would solve these design problems would be very appreciated.

So, let’s dive in and start building more exciting websites!

1. Extruded Text Effect

Extruded-text-effect in Five Useful Interactive CSS/jQuery Techniques Deconstructed

The footer of David DeSandro’s website uses extruded text that animates on mouseover. This interactive text effect is a quick and impressive way to add some flare to your website. With only a few lines of CSS3, we can make the text appear to pop out of the page in three dimensions.

First let’s set up some text (the code is copied from the original site):

<span class="extruded">Extrude Me</span>

And some basic styling (the code is copied from the original site):

body {
    background-color: #444;
    text-align: center;
}

.extruded {
    color: #888;
    font-family: proxima-nova-1, proxima-nova-2, 'Helvetica Neue', Arial, sans-serif;
    font-size: 48px;
    font-weight: bold;
    text-shadow: #000 3px 3px;
}

Here, we’ve applied some basic styles and added a text-shadow. But this text-shadow doesn’t look three-dimensional; to accomplish the extruded effect, we’ll need to add more text-shadows:

    text-shadow: #000 1px 1px, #000 2px 2px, #000 3px 3px;

This will add three different text-shadows to our text, stacked on top of each other to create the three dimensional appearance we want.

Styling the Hover State

Next, let’s add a hover state with a bigger text-shadow:

.extruded:hover {
    color: #FFF;
    text-shadow: #58E 1px 1px, #58E 2px 2px, #58E 3px 3px, #58E 4px 4px, #58E 5px 5px, #58E 6px 6px;
}

Here, we’ve added three more text-shadows to increase the depth of the extrude effect. But this effect alone is too flat; we want the text to look like it’s popping off the page. So, let’s reposition the text to make it appear to grow taller from the base of the extruded section:

.extruded {
    position: relative;
}

.extruded:hover {
    color: #FFF;
    text-shadow: #58E 1px 1px, #58E 2px 2px, #58E 3px 3px, #58E 4px 4px, #58E 5px 5px, #58E 6px 6px;
    left: -6px;
    top: -6px;
}

Now in the hover state, the extruded text moves up the same distance as our max text-shadow value. We also added position: relative, which must be attached to the base state, not just the hover state, or else it will cause problems when we animate it.

Animating the Transition

Next, we can add a CSS3 transition to our text to animate the color change and extrude effect:

.extruded {
     -moz-transition: all 0.3s ease-out; /* FF3.7+ */
       -o-transition: all 0.3s ease-out; /* Opera 10.5 */
  -webkit-transition: all 0.3s ease-out; /* Saf3.2+, Chrome */
          transition: all 0.3s ease-out;
}

This triggers a smooth animation for our different CSS changes on hover. While it doesn’t work in all browsers, it does degrade nicely to the basic hover effect.

Bringing it all together:

body {
    background-color: #444;
    text-align: center;
}

.extruded {
    color: #888;
    font-family: proxima-nova-1, proxima-nova-2, 'Helvetica Neue', Arial, sans-serif; /* the original site doesn't use the @font-face attribute */
    font-size: 48px;
    font-weight: bold;
    text-shadow: #000 1px 1px, #000 2px 2px, #000 3px 3px;
    position: relative;
    -moz-transition: all 0.3s ease-out; /* FF3.7+ */
       -o-transition: all 0.3s ease-out; /* Opera 10.5 */
  -webkit-transition: all 0.3s ease-out; /* Saf3.2+, Chrome */
          transition: all 0.3s ease-out;
}

.extruded:hover {
    color: #FFF;
    text-shadow: #58E 1px 1px, #58E 2px 2px, #58E 3px 3px, #58E 4px 4px, #58E 5px 5px, #58E 6px 6px;
    left: -6px;
    top: -6px;
}

Shortcomings

While applying several CSS3 text-shadows works well when the text is static, it falls a bit short when used alongside the transition animation.

In short, the biggest text-shadow animates just fine, but the other text-shadows aren’t applied until the animation completes. This causes a quick correction: the browser stutters with a basic drop-shadow before filling in the rest diagonally.

Fortunately, we can make this drawback relatively unnoticeable, provided that we follow a few style guidelines. Basically, we want to hide the bulk of the extruded portion with the top text. This means that we should generally use this effect with bolder fonts, such as the Proxima Nova family used by David DeSandro. Also, we should be careful to avoid text-shadows that are too big for the font. Tweak your settings with this in mind until the animated extrude looks believable.

Finally, this technique will not work in IE, because text-shadow is unsupported in all versions of IE (even IE9).

2. Animating A Background Image

Animated-images in Five Useful Interactive CSS/jQuery Techniques Deconstructed

While we can easily animate text with a few lines of code, animating an image usually requires bigger and slower assets, such as animated GIFs or Flash or HTML5 video. While complex animations will still depend on these technologies, we can create a compelling illusion of animation using CSS alone.

Love Nonsense uses a hover effect to alter the color of the images on the website. The trick here is to use a transparent PNG with a background color. The color of the PNG should match the website’s background, so that all of the transparent areas in the PNG show up when filled with a background color. Thus, the PNG should contain the negative space of the image you want to display (i.e. the shape you want should be transparent, and everything else should be the same color as the background).

Here’s an example of the Smashing Magazine logo with negative space:

Inverse-negative-space in Five Useful Interactive CSS/jQuery Techniques Deconstructed

Notice in the demo how when the background color is set to orange, it starts to look more like the real thing.

The Code

First, let’s do some basic mark-up:

<div class="post-wrapper">
    <h2 class="post-title">
        This is the title you hover over

        <img src="knockout-image.png" class="post-image" alt="" />
    </h2>

    <p>Some more text here.</p>
</div>

Here we include a post with a title, our knock-out image and a paragraph of text.

Next, let’s set up some static styles:

.post-wrapper {
    position: relative;
    padding-left: 240px;
}

.post-image {
    position: absolute;
    top: 0;
    left: 0;
    background-color: #bbb;
}

.post-title {
    color: #037072;
}

Here, we’ve set up the post’s wrapper with position: relative and with enough padding on the left side to absolutely position the image to the left of our post. We’ve also added a background color to our image; so now the positive space in our PNG shows up as light gray.

Next, let’s add some hover effects:

.post-title:hover {
    color: #d63c25;
}

.post-title:hover .post-image {
    background-color: #f04e36;
}

Now, when we hover over the title or the image, both will change color.

We can take this effect a step further by animating the transition:

.post-image {
    -webkit-transition: background-color 400ms ease-in;
    -moz-transition: background-color 400ms ease-in;
    transition: background-color 400ms ease-in;
}

.post-title {
    -webkit-transition: color 400ms ease-in;
    -moz-transition: color 400ms ease-in;
    transition: color 400ms ease-in;
}

Here, we’ve added a CSS3 transition to both the image and the title, which will make for a smooth color change animation.

Unfortunately, CSS3 transitions are not currently supported in IE9. However, even in unsupported browsers, the color change will still occur — it just won’t have a smooth animation.

If complete cross-browser support for the animation is important, you could always provide a jQuery version of the animation for unsupported browsers. Bear in mind, though, that jQuery’s animate() method does not support color animations, so you’ll need to use a color plug-in.

Putting all the CSS together:

.post-wrapper {
    position: relative;
    padding-left: 240px;
}

.post-image {
    position: absolute;
    top: 0;
    left: 0;
    background-color: #bbb;
    -webkit-transition: background-color 400ms ease-in;
    -moz-transition: background-color 400ms ease-in;
    transition: background-color 400ms ease-in;
}

.post-title {
    color: #037072;
    -webkit-transition: color 400ms ease-in;
    -moz-transition: color 400ms ease-in;
    transition: color 400ms ease-in;
}

/* add the hover states */

.post-title:hover {
    color: #d63c25;
}

.post-title:hover .post-image {
    background-color: #f04e36;
}

3. Mega Dropdown

Mega-dropdown-menu in Five Useful Interactive CSS/jQuery Techniques Deconstructed

One common design problem with dropdown menus is that they often contain a lot of items. Instead of presenting all of its items in a long single column, Bohemia Design uses a multi-column dropdown. This approach not only looks great, but provides an opportunity to group the links and highlight the most important ones.

Let’s recreate this menu using CSS and jQuery.

Building the Tabs

Ideally, we would start with a lean and simple mark-up…

<nav>
    <li><a href="#">Tab 1</a></li>
    <li><a href="#">Tab 2</a></li>
    <li><a href="#">Tab 3</a></li>
    <li><a href="#">Tab 4</a></li>
    <li><a href="#">Tab 5</a></li>
</nav>

…and use nav li a, nav > li or nav li to style the list items in the navigation. The child selector doesn’t work in IE6 and nav li would cause problems since there are additional LIs nested in the content area of the dropdown. If you absolutely need the site to work for IE6 users as well (and that’s what you sometimes will have to do), you’ll need to have markup similar to the original mark-up in this example:

<ul id="main-nav">
    <li class="main-nav-item">
        <a href="#" class="main-nav-tab">Tab 1</a>
    </li>

    <li class="main-nav-item">
        <a href="#" class="main-nav-tab">Tab 2</a>
    </li>

    <li class="main-nav-item">
        <a href="#" class="main-nav-tab">Tab 3</a>
    </li>

    <li class="main-nav-item">
        <a href="#" class="main-nav-tab">Tab 4</a>
    </li>

    <li class="main-nav-item">
        <a href="#" class="main-nav-tab">Tab 5</a>
    </li>
</ul>

Next, let’s style these five tabs:

#main-nav {
    width: 800px;
    height: 50px;
    position: relative;
    list-style: none;
    padding: 0;
}

#main-nav .main-nav-item {
    display: inline;
}

#main-nav .main-nav-tab {
    float: left;
    width: 140px;
    height: 30px;
    padding: 10px;
    line-height: 30px;
    text-align: center;
    color: #FFF;
    text-decoration: none;
    font-size: 18px;
}

Although a lot of the CSS is specific to our example, there are a few important styles to note.

First, we’ve defined a height and width for our overall tab area and matched the total height and width of all five tabs, so that we can position the dropdown correctly. Next, we’ve defined position: relative for the tab wrapper, which will allow us to position the dropdown absolutely.

Then, we added list-style: none to the list wrapper, and display: inline to each list item, to eliminate any list styling.

Finally, we floated all of the tab links to the left.

Building the Dropdown

Now, let’s build the dropdown mark-up in one of our tab wrappers:

    <li class="main-nav-item">
        <a href="#" class="main-nav-tab">Tab 1</a>

        <div class="main-nav-dd">
            <div class="main-nav-dd-column">
            Column content here
            </div>
        </div>

        <div class="main-nav-dd">
            <div class="main-nav-dd-column">
            Column content here
            </div>
        </div>

        <div class="main-nav-dd">
            <div class="main-nav-dd-column">
            Column content here
            </div>
        </div>
    </li>

Next, let’s style this dropdown:

#main-nav .main-nav-dd {
    position: absolute;
    top: 50px;
    left: 0;
    margin: 0;
    padding: 0;
    background-color: #FFF;
    border-bottom: 4px solid #f60;
}

#main-nav .main-nav-dd-column {
    width: 130px;
    padding: 15px 20px 8px;
    display: table-cell;
    border-left: 1px solid #ddd;
    *float: left;
    *border-left: 0;
}

#main-nav .main-nav-dd-column:first-child {
    border-left: 0;
}

Here, we’ve positioned the dropdown absolutely, directly beneath the first tab.

Let’s set display: table-cell on all of the column wrappers, so that they display next to each other. But table-cell is not supported in IE6 or 7, so we’ve used an attribute hack as an alternative for IE6 and 7. This hack places an asterisk (*) before each of the attributes that are specific to IE6 and 7.

Thus, we’ve defined a backup for unsupported IEs, which is simply float: left. This works almost as well as display: table-cell, except that the floated elements don’t match each other’s height, so the borders between columns don’t line up. To avoid this minor issue, we simply remove the border-left using the same asterisk hack.

Finally, we remove the left border from the first column for all browsers. Although the :first-child pseudo-class doesn’t work properly in IE6, fortunately it doesn’t make a difference, because we’ve already hidden the borders in these browsers.

Adding the Interaction

We’ve built the mark-up and styles for our dropdown, but we still need to make the menu interactive. Let’s use jQuery to add a class to show and hide the dropdown:

$(function() {
    var $mainNav = $('#main-nav');

    $mainNav.children('.main-nav-item').hover(function(ev) {
        // show the dropdown
        $(this).addClass('main-nav-item-active');
    }, function(ev) {
        // hide the dropdown
        $(this).removeClass('main-nav-item-active');
    });
});

Here, we’ve attached a hover listener to each list item, which adds and removes the class main-nav-item-active. Attach this to the list item rather than the tab itself, or else the dropdown will disappear when the user mouses off the tab and into the dropdown area.

Now we can use this class hook to hide and show the dropdown with CSS:

#main-nav .main-nav-dd {
    display: none;
}

#main-nav .main-nav-item-active .main-nav-dd {
    display: block;
}

Let’s use the active class to style the active tab:

#main-nav .main-nav-item-active .main-nav-tab {
    background-color: #FFF;
    color: #f60;
    -webkit-border-top-left-radius: 5px;
    -webkit-border-top-right-radius: 5px;
    -moz-border-radius-topleft: 5px;
    -moz-border-radius-topright: 5px;
    border-top-left-radius: 5px;
    border-top-right-radius: 5px;
}

Here, we’ve changed the background and text colors and rounded the top corners (in supported browsers).

Positioning the Dropdown

Now the basic mouse interaction has been built and the dropdown displays on mouseover. Unfortunately, it is still not positioned correctly under each tab, so let’s add some more code to our hover events:

$(function() {
    var $mainNav = $('#main-nav');

    $mainNav.children('.main-nav-item').hover(function(ev) {
        var $this = $(this),
        $dd = $this.find('.main-nav-dd');

        // get the left position of this tab
        var leftPos = $this.find('.main-nav-tab').position().left;

        // position the dropdown

        $dd.css('left', leftPos);

        // show the dropdown
        $this.addClass('main-nav-item-active');
    }, function(ev) {

        // hide the dropdown
        $(this).removeClass('main-nav-item-active');
    });
});

Here, we use jQuery’s position() method to get the left offset from the current tab. We then use this value to position the dropdown directly beneath the appropriate tab.

However, with the tabs on the right side, the dropdown menu will end up poking out of the tab area. Besides looking bad, this could lead to overflow issues, with portions of the dropdown falling outside of the browser window.

Let’s fix the positioning with some JavaScript:

$(function() {
    var $mainNav = $('#main-nav'),
    navWidth = $mainNav.width();

    $mainNav.children('.main-nav-item').hover(function(ev) {
        var $this = $(this),
        $dd = $this.find('.main-nav-dd');

        // get the left position of this tab
        var leftPos = $this.find('.main-nav-tab').position().left;

        // get the width of the dropdown
        var ddWidth = $dd.width(),
        leftMax = navWidth - ddWidth;

        // position the dropdown
        $dd.css('left', Math.min(leftPos, leftMax) );

        // show the dropdown
        $this.addClass('main-nav-item-active');
    }, function(ev) {

        // hide the dropdown
        $(this).removeClass('main-nav-item-active');
    });
});

Here, we start by finding the overall width of the tab area. Because recalculating the width for each tab is not necessary, we can define it outside of our hover listener.

Next, we find the width of the dropdown and determine the maximum left value, which is the overall tab width minus the width of the dropdown.

Finally, instead of always positioning the dropdown directly beneath the tab, we use the Math.min() method to pick the lowest between the tab offset and the maximum left value.

Thus, we confine the dropdown to the area beneath the tabs and avoid any content issues.

Other Approaches

While this script is fully functional, we could still improve the user experience. Currently, when the user mouses away from the dropdown, the menu hides immediately. You could build a delay using setTimeout() to ensure that the dropdown remains visible when the user mouses away and then quickly mouses back. This creates a better experience, because it avoids hiding the dropdown during accidental movements.

If you’d rather avoid setTimeout(), you could also look into the hoverIntent jQuery plug-in, which makes fine-tuned control over mouse actions much easier.

Besides improving the user experience, you could also avoid jQuery altogether in all browsers except IE6.

Instead of using jQuery’s hover() listener, we could use the CSS pseudo-class :hover to hide and show the dropdown.

One downside with the CSS-only solution is that you can’t build a delay for the :hover pseudo-class.

Also, you will have to position the dropdown manually under each tab to avoid the overflow issues. Alternatively, if you aren’t concerned with overflow issues, you could attach position: relative to each list item and avoid setting any positions manually.

Finally, if you’re supporting IE6, make sure to include the script above as a backup for IE6 (but don’t include it for other browsers).

4. Animated Slideshow Navigation

Animated-slideshow-navigation in Five Useful Interactive CSS/jQuery Techniques Deconstructed

There are a lot of JavaScript slideshow techniques, but the animated navigation on McKinney is a fresh, subtle approach.

Basic jQuery Slideshow

Let’s build something similar. We’ll start with some mark-up for a basic slideshow:

<div id="slideshow">
    <div id="slideshow-reel">
        <div class="slide">
            <h1>Slide 1</h1>
        </div>

        <div class="slide">
            <h1>Slide 2</h1>
        </div>

        <div class="slide">
            <h1>Slide 3</h1>
        </div>

        <div class="slide">
            <h1>Slide 4</h1>
        </div>

        <div class="slide">
            <h1>Slide 5</h1>
        </div>

        <div class="slide">
            <h1>Slide 6</h1>
        </div>
    </div>
</div>

Here we’ve set up six slides, which can be filled with any content we need. Let’s set up some CSS to display the slides as a horizontal reel:

#slideshow {
    width: 900px;
    height: 500px;
    overflow: hidden;
    position: relative;
}

#slideshow-reel {
    width: 5400px;
    height: 450px;
    position: absolute;
    top: 0;
    left: 0;
}

#slideshow-reel .slide {
    width: 900px;
    height: 450px;
    float: left;
    background-color: gray;
}

Here, we’ve defined the dimensions of the slideshow, along with overflow: hidden to hide the other slides in the reel. We’ve also defined the dimensions of the reel: with six slides at 900 pixels each, it is 5400 pixels wide. (You could also just set this to a really high number, like 10000 pixels.) Then, we absolutely positioned the reel inside the slideshow (which has position: relative). Finally, we defined the dimensions for all of the individual slides and floated them to the left to fill up our reel.

Basic Slideshow Animation

Now, let’s add some jQuery to animate this slideshow:

$(function() {
    function changeSlide( newSlide ) {
        // change the currSlide value
        currSlide = newSlide;

        // make sure the currSlide value is not too low or high
        if ( currSlide > maxSlide ) currSlide = 0;
        else if ( currSlide < 0 ) currSlide = maxSlide;

        // animate the slide reel
        $slideReel.animate({
            left : currSlide * -900
        }, 400, 'swing', function() {
            // set new timeout if active
            if ( activeSlideshow ) slideTimeout = setTimeout(nextSlide, 1200);
        });
    }

    function nextSlide() {
        changeSlide( currSlide + 1 );
    }

    // define some variables / DOM references
    var activeSlideshow = true,
    currSlide = 0,
    slideTimeout,
    $slideshow = $('#slideshow'),
    $slideReel = $slideshow.find('#slideshow-reel'),
    maxSlide = $slideReel.children().length - 1;

    // start the animation
    slideTimeout = setTimeout(nextSlide, 1200);
});

Here, we’ve started by creating the function changeSlide(), which animates the slide reel. This function accepts an index for the next slide to show, and it checks to make sure that the value isn't too high or low to be in the reel.

Next, it animates the slide reel to the appropriate position, and then finishes by setting a new timeout to trigger the next iteration.

Finally, we’ve built the function nextSlide(), which simply triggers changeSlide() to show the next slide in the reel. This simple function is just a shortcut to be used with setTimeout().

The Left and Right Navigation

Next, let's set up the left and right arrows in the slideshow, starting with the mark-up:

    <a href="#" id="slideshow-prev"></a>
    <a href="#" id="slideshow-next"></a>

For simplicity's sake, we've added the mark-up to the HTML source. Appending it to the jQuery is often a better approach, to ensure that the controls appear only when they are usable.

Let's style these arrows with CSS:

#slideshow-prev, #slideshow-next {
    display: block;
    position: absolute;
    top: 190px;
    width: 0;
    height: 0;
    border-style: solid;
    border-width: 28px 21px;
    border-color: transparent;
    outline: none;
}

#slideshow-prev:hover, #slideshow-next:hover {
    opacity: .5;
    filter: alpha(opacity=50);
    -ms-filter:"progid:DXImageTransform.Microsoft.Alpha(Opacity=50)";
}

#slideshow-prev {
    left: 0;
    border-right-color: #fff;
}

#slideshow-next {
    right: 0;
    border-left-color: #fff;
}

We’ve positioned the arrows absolutely within the slideshow frame and added an opacity change on hover. In our example, we’ve used a CSS triangle trick to style the arrows with straight CSS, but feel free to use an image if you want richer graphics.

Finally, let's build the required interaction into our JavaScript:

$(function() {
    function changeSlide( newSlide ) {
        // cancel any timeout
        clearTimeout( slideTimeout );

        // change the currSlide value
        currSlide = newSlide;

        // make sure the currSlide value is not too low or high
        if ( currSlide > maxSlide ) currSlide = 0;
        else if ( currSlide < 0 ) currSlide = maxSlide;

        // animate the slide reel
        $slideReel.animate({
            left : currSlide * -900
        }, 400, 'swing', function() {
            // hide / show the arrows depending on which frame it's on
            if ( currSlide == 0 ) $slidePrevNav.hide();
            else $slidePrevNav.show();

            if ( currSlide == maxSlide ) $slideNextNav.hide();
            else $slideNexNav.show();

            // set new timeout if active
            if ( activeSlideshow ) slideTimeout = setTimeout(nextSlide, 1200);
        });

        // animate the navigation indicator
        $activeNavItem.animate({
            left : currSlide * 150
        }, 400, 'swing');
    }

    function nextSlide() {
        changeSlide( currSlide + 1 );
    }

    // define some variables / DOM references
    var activeSlideshow = true,
    currSlide = 0,
    slideTimeout,
    $slideshow = $('#slideshow'),
    $slideReel = $slideshow.find('#slideshow-reel'),
    maxSlide = $slideReel.children().length - 1,
    $slidePrevNav = $slideshow.find('#slideshow-prev'),
    $slideNextNav = $slideshow.find('#slideshow-next');

    // set navigation click events

    // left arrow
    $slidePrevNav.click(function(ev) {
        ev.preventDefault();

        activeSlideshow = false;

        changeSlide( currSlide - 1 );
    });

    // right arrow
    $slideNextNav.click(function(ev) {
        ev.preventDefault();

        activeSlideshow = false;

        changeSlide( currSlide + 1 );
    });

    // start the animation
    slideTimeout = setTimeout(nextSlide, 1200);
});

Here, we've added quite a bit of new interaction. First, look at the bottom of this script, where we've added click event listeners to both of our navigational items.

In these functions, we have first set activeSlideshow to false, which disables the automatic animation of the reel. This provides a better user experience by allowing the user to control the reel manually. Then, we trigger either the previous or next slide using changeSlide(). Next, in the changeSlide() function, we've added a clearTimeout(). This works in conjunction with the activeSlideshow value, cancelling any hanging iteration from a setTimeout.

Finally, in the callback of the animate() function, we've added some code to hide and show the arrow navigation. This hides the left arrow when the slideshow is showing the left-most slide, and vice versa.

Animating the Bottom Navigation

The basic slideshow works with the previous and next arrows. Let's take it to the next level by adding the animated navigation. Please note that I am using a more complex markup because it avoids the use of images and is ultimately simpler. It would have to use three background images otherwise — one for the center sections and one for each cap to allow the clickable areas to be larger). However, you could clean up the bottom navigation with a background-image.

Here is the jQuery code for animation:

$(function() {
    function changeSlide( newSlide ) {
        // cancel any timeout
        clearTimeout( slideTimeout );

        // change the currSlide value
        currSlide = newSlide;

        // make sure the currSlide value is not too low or high
        if ( currSlide > maxSlide ) currSlide = 0;
        else if ( currSlide < 0 ) currSlide = maxSlide;

        // animate the slide reel
        $slideReel.animate({
            left : currSlide * -900
        }, 400, 'swing', function() {
            // hide / show the arrows depending on which frame it's on
            if ( currSlide == 0 ) $slidePrevNav.hide();
            else $slidePrevNav.show();

            if ( currSlide == maxSlide ) $slideNextNav.hide();
            else $slideNextNav.show();

            // set new timeout if active
            if ( activeSlideshow ) slideTimeout = setTimeout(nextSlide, 1200);
        });

        // animate the navigation indicator
        $activeNavItem.animate({
            left : currSlide * 150
        }, 400, 'swing');
    }

    function nextSlide() {
        changeSlide( currSlide + 1 );
    }

    // define some variables / DOM references
    var activeSlideshow = true,
    currSlide = 0,
    slideTimeout,
    $slideshow = $('#slideshow'),
    $slideReel = $slideshow.find('#slideshow-reel'),
    maxSlide = $slideReel.children().length - 1,
    $slidePrevNav = $slideshow.find('#slideshow-prev'),
    $slideNextNav = $slideshow.find('#slideshow-next'),
    $activeNavItem = $slideshow.find('#active-nav-item');

    // set navigation click events

    // left arrow
    $slidePrevNav.click(function(ev) {
        ev.preventDefault();

        activeSlideshow = false;

        changeSlide( currSlide - 1 );
    });

    // right arrow
    $slideNextNav.click(function(ev) {
        ev.preventDefault();

        activeSlideshow = false;

        changeSlide( currSlide + 1 );
    });

    // main navigation
    $slideshow.find('#slideshow-nav a.nav-item').click(function(ev) {
        ev.preventDefault();

        activeSlideshow = false;

        changeSlide( $(this).index() );
    });

    // start the animation
    slideTimeout = setTimeout(nextSlide, 1200);
});

We've added a couple of things to our script.

First, we've included a second animation in changeSlide(), this time to animate the active indicator in the navigation. This animate() is basically the same as the one we built for the reel, the main difference being that we want to move it only 150px per slide.

Finally, we added a click event listener to the items in the bottom navigation. Similar to the arrow navigation, we start by disabling the automatic animation, setting activeSlideshow to false. Next, we trigger changeSlide(), passing in the index of whichever slide was clicked, which is easy to determine using jQuery's index() method.

Now the slideshow navigation animation is complete and ready to impress your visitors.

5. Animated Icons

Animated-icons-on-css-tricks in Five Useful Interactive CSS/jQuery Techniques Deconstructed

CSS-Tricks has a simple but elegant effect in its footer when the user mouses over various buttons. Besides the color changing and an icon being added, the effect is animated in browsers that support transition, making the icon appear to slide into place.

Let's create a similar effect, starting with some mark-up:

<a href="#" class="hover-panel">
    <h3>Panel Title</h3>

    <p>Additional information about the panel goes in a paragraph here</p>
</a>

One thing to note about this mark-up is that it has block elements nested in an <a> element, which makes sense semantically, but it's valid only if you're using the HTML5 doc type.

Styling the Buttons

Let's set up some basic CSS to style the block in its natural (non-hovered) state:

.hover-panel {
    background-color: #E6E2DF;
    color: #B2AAA4;
    float: left;
    height: 130px;
    width: 262px;
    margin: 0 10px 10px 0;
    padding: 15px;
}

.hover-panel h3 {
    font-family: tandelle-1, tandelle-2, Impact, Sans-serif, sans;
    font-size: 38px;
    line-height: 1;
    margin: 0 0 10px;
    text-transform: uppercase;
}

.hover-panel p {
    font-size: 12px;
    width: 65%;
}

Now let's add a static hover effect to change some of the colors and add a drop shadow:

.hover-panel:hover {
    background-color: #237ABE;
}

.hover-panel:hover h3 {
    color: #FFF;
    text-shadow: rgba(0, 0, 0, 0.398438) 0px 0px 4px;
}

.hover-panel:hover p {
    color: #FFF:
}

Finally, let's add a background image that pops into place on hover:

.hover-panel {
    background-image: url(hover-panel-icon.png);
    background-position: 292px 10px;
    background-repeat: no-repeat;
}

.hover-panel:hover {
    background-position: 180px 10px;
}

Here, we've added a few important styles to accomplish the hover effect. First, we've attached the background image to our .hover-panel. This is normally positioned outside of the button, but on mouseover, it is placed correctly. Also, note that we've placed it off to the right side of the panel, so that when we apply the transition animation, the icon will slide in from the right.

Animating the Transition

Finally, let's add the transition:

.hover-panel {
     -moz-transition: all 0.2s ease; /* FF3.7+ */
       -o-transition: all 0.2s ease; /* Opera 10.5 */
  -webkit-transition: all 0.2s ease; /* Saf3.2+, Chrome */
          transition: all 0.2s ease;
}

The transition effect triggers the animation of the background image. Because we've flagged it to apply to all attributes, the transition will also be applied to the background-color change that we applied above.

Although this works in most modern browsers, it will not work in IE9. But even in unsupported browsers, the user will see the color change and icon; they just won't see the animation effect.

On most websites, this enhancement wouldn't be necessary for all users. But if support is a priority, look into this jQuery back-up.

Finally, let's bring all of the styles together:

.hover-panel {
    background-color: #E6E2DF;
    background-image: url(hover-panel-icon.png);
    background-position: 292px 10px;
    background-repeat: no-repeat;
    color: #B2AAA4;
    display: block;
    float: left;
    height: 130px;
    width: 262px;
    margin: 0 10px 10px 0;
    padding: 15px;
     -moz-transition: all 0.2s ease; /* FF3.7+ */
       -o-transition: all 0.2s ease; /* Opera 10.5 */
  -webkit-transition: all 0.2s ease; /* Saf3.2+, Chrome */
          transition: all 0.2s ease;
}

.hover-panel h3 {
    font-family: tandelle-1, tandelle-2, Impact, Sans-serif, sans;
    font-size: 38px;
    line-height: 1;
    margin: 0 0 10px;
    text-transform: uppercase;
}

.hover-panel p {
    font-size: 12px;
    width: 65%;
}

.hover-panel:hover {
    background-color: #237ABE;
    background-position: 180px 10px;
}

.hover-panel:hover h3 {
    color: #FFF;
    text-shadow: rgba(0, 0, 0, 0.398438) 0px 0px 4px;
}

.hover-panel:hover p {
    color: #FFF:
}

Final Thoughts

In this article, we've walked through a variety of interactive techniques that can add a bit of style and creativity to your website. Used correctly, techniques like these enhance websites, creating a more engaging and memorable user experience. But be subtle with the interactivity, ensuring that the bells and whistles do not get in the way of the website's primary function, which is to providing meaningful content.

What do you think of the techniques presented here? Do you know of any ways to improve these scripts? What are some other interactive techniques that you've seen around the Web?

(al)


© Jon Raasch for Smashing Magazine, 2011. | Permalink | Post a comment | Smashing Shop | Smashing Network | About Us
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Understanding Copyright And Licenses

Advertisement in Understanding Copyright And Licenses
 in Understanding Copyright And Licenses  in Understanding Copyright And Licenses  in Understanding Copyright And Licenses

The Web is full of creative and practical resources that we can use to improve our projects. Photography, fonts, music and code are perfect examples. Finding stock objects and existing implementations is often quicker, cheaper and more practical than producing your own.

Whether free or not, these resources normally come with a license to ensure fair use. For professionals, understanding the limitations of a license is critical; with this knowledge, you’d be surprised by what’s available. Understanding copyright and licenses allows us to do what we do best: be creative.

Copyright in Understanding Copyright And Licenses

In this article, we’ll cover the basic principles that govern copyright and licenses. We’ll then explore common licenses in our industry, with examples. We’ll cover the following:

Quick disclaimer: I am not a lawyer! This is not legal advice, only the results of my own research. Please always read the entire license of any resource you use.

Copyright And Licensing

When we create something — let’s say a photograph — we own the copyright, which is our exclusive right as the author to own that work. We control who else can use our work and in what manner. For example, I could allow someone to print my photograph or adapt it in a piece of art. Rather than establishing verbal agreements, I can distribute my work with a license that sets the guidelines for use. The things that are copyrighted are sometimes referred to as “intellectual property.â€�

Licenses are granted by an authority to allow a usage; in my case, the use and distribution of resources by the copyright owner (i.e. me). I may decide to offer my photograph for free or charge a price; either way, I can include a license to limit usage, and I maintain the copyright. Just because someone pays money doesn’t mean they have full control or rights to what they’re buying. Licenses can dictate the number or uses, the bounds of use and even the length of time until the license expires.

Moreover, under “work for hire,� the employer holds the copyright, not the author or creative; in many cases, this is a company (such as a creative agency) or its client (by contractual agreement). In such cases, the creator retains “moral rights� to their work, including the right of attribution. This is partly why published articles refer to the author, although moral rights can include anonymity.

Copyright laws are incredibly complex, but this should be a good start.

What Is “Fair Use�

“Fair use� is an exception to the exclusive rights held by the copyright owner. It exists in some countries such as the US and UK. Under it, in certain cases, using work without permission is possible. If someone’s usage is defined as fair use, then they don’t need to obtain a license. Essentially, using copyrighted material is a legal right. Examples of fair use might include:

  • Educational purposes, such as teaching and student research;
  • Making commentary and criticism as part of a news report or published article.

There’s a misconception that noncommercial or nonprofit use is always acceptable. It isn’t. Fair use is a legal term and is judged case by case. Always research thoroughly if you think your use of copyrighted material is legal.

What Is “Public Domain�

Work that falls in the “public domain� basically has no copyright owner. You can use, modify and redistribute it to your heart’s content. An author can forfeit their copyright and, thus, put their work in the public domain (although it’s not quite that easy, as we’ll see later). Copyright ownership expires after the author’s death (generally 50 to 70 years after death in most countries).

Every country has its own interpretation of copyright law, but there are many agreements between nations. Licenses are enforced under copyright law, which is different than contract law. The distinction here is questionable within certain jurisdictions, each of which applies the law differently.

The Berne Convention (for the Protection of Literary and Artistic Works) was established in 1886 and is an international agreement that governs copyright. It states that each member state must recognize the copyright of work from other countries, and it must extend the same rights to foreign work that it gives to those of its own citizens. It also makes clear a minium standard of protection for copyright owners. To date, 164 countries have signed this agreement.

Licenses can be limited to certain jurisdictions. So, while something may be free in one country, the copyright owner could reserve all rights in other countries.

If you’re reading this, I can guess pretty confidently that you work on the Web and that you are, or will be, purchasing licenses from copyright owners in different countries. These licenses are bound by the laws of those countries, and you must respect them.

We’re getting into political and legal territory here. Remember: if in doubt, get legal advice.

License Terminology

A license can be written from scratch, but most people choose a well-known one. We’ll cover the common licenses that relate to our industry of website design and development, specifically those that allow for free usage — “free,â€� meaning that no money is required. Generally, licenses that govern paid resources are written individually, but all licenses have commonalities.

There is obviously a fundamental difference between, say, development code and stock photography. So, it should come as no surprise that a range of licenses exist. Each is tailored to the usage. Before we dive into them, let’s go over some common terminology:

  • “Copyâ€�
    A simple copy of the original work.
  • “Modifyâ€�
    To alter copyrighted work in some way before using it.
  • “Derivative workâ€�
    The result of modifying copyrighted work to produce new work.
  • “Distributeâ€�
    The act of giving someone your work under a license.
  • “Redistributeâ€�
    The act of distributing work and its license after obtaining it under license from the original copyright owner.
  • “Share alikeâ€�
    Permission to distribute derivative work under the same or a similar license.
  • “Creditâ€� or “attributionâ€�
    The act of identifying the original copyright owner.
  • “Copyright noticeâ€�
    A written phrase or symbol (©) informing of copyright ownership (not necessarily required by law).
  • “All rights reservedâ€�
    A common copyright notice declaring that no usage rights exist (again, not necessarily required).
  • “Warrantyâ€�
    A written guarantee included with the license (or, usually, not).

With this in mind, let’s start with the creative licenses.

Creative Commons

Lawrence Lessig founded Creative Commons (CC) in 2001 to create a series of easy-to-understand copyright licenses for online creative work. These licenses established the notion of “some rights reserved.�

The Creative Commons license has six variations. It’s really a collection of licenses that cover particular uses. These include whether the licensed work can be used commercially, whether it can be modified, and whether derivative work can be redistributed under the same (or a compatible) license. A Creative Commons license can be restricted to certain jurisdictions or apply internationally.

Creative-commons-license in Understanding Copyright And Licenses

The basic Creative Commons license is CC Attribution. It allows for all copying, modification and redistribution (even commercially), provided that the original author is attributed (with no implication of endorsement). Work under CC Attribution is essentially free to use.

The CC Attribution license can be extended to CC Attribution-ShareAlike. The same rules apply, except that all derivative work must be licensed the same way. This distinction ensures that all resulting work remains free. Wikipedia uses this license for its text.

Here are the four other Creative Commons licenses:

  • CC Attribution-NoDerivs
    Redistribution is allowed, provided that attribution is given and no modifications are made.
  • CC Attribution-NonCommercial
    Everything is allowed with attribution, provided that it is not done commercially.
  • CC Attribution-NonCommercial-ShareAlike
    The same as above, but derivative work must be under the same license.
  • CC Attribution-NonCommercial-NoDerivs
    Redistribution is allowed for noncommercial use and without any modification.

As you can see, the Creative Commons licence has six separate versions, all of which at least require attribution to the copyright owner.

You should attribute by citing the title of the work, the copyright notice, the author’s name and the license name. For example:

This work includes the photo “Photo’s Title,â€� available under a Creative Commons Attribution license, © Author’s Name.

If the original work includes a copyright notice, it must be left intact. Otherwise, you are free to attribute appropriately. Also, link to the work and license if possible. Informing the author is courteous but not required.

CC0 also exists. It enables copyright owners to waive all of their rights. It’s essentially a way of saying that the work is in the public domain and that there are “no rights reserved.� The concept exists because many jurisdictions don’t have a clear process for putting work in the public domain, and many legal systems actually prohibit the surrendering of lawful rights such as copyright ownership.

The Creative Commons licenses are clear and readable. As mentioned, Wikipedia uses the Attribution-ShareAlike. Flickr makes it easy for users to select one of the CC licenses, and it’s a great source of photography for your projects. You can even search Google for Creative Commons content.

Software Licenses

Written code is copyrighted: you own what you write. Of course, the simplest line of code, like print('Hello World!');, can be rewritten totally independently, without knowledge of the original author, and both parties will own the copyright of their own version (however worthless it may be). But beyond a few lines, code does become valuable, and distributing it with a license is important.

Other intellectual property laws, such as patents, can also protect software. Software patent laws are hotly debated in the US, where they are granted. In many other countries, such as the UK and New Zealand, software cannot be patented. While copyright is a right, patents must be granted.

Software licenses cover the use of programming code. If you’re using a third-party library or elements from an open-source project, your usage must respect the relevant license.

Development licenses generally cover the following points:

  • How the work and modifications of it can be distributed,
  • Whether any derivative work must be made open source,
  • What copyright and other notices are required for redistribution.

Software licenses can be defined as “permissive� or “copyleft.� The latter removes the right to add further license restrictions upon redistribution.

Below is a quick rundown of common software licenses and how they’ve evolved over the decades.

MIT License

The MIT license is perhaps the most open of all. It effectively puts the work in the public domain. It explicitly gives permission, “without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sub license, and/or sell copies of the Software.� The only condition is that the full copyright notice (which declares no warranty or liability) be included. Work released under the MIT license can be used for anything, including commercial and proprietary software.

BSD License

The BSD license is similar to the MIT license.

The original version, published in 1990, had four clauses, the last being an “advertising clause� stating that all promotional material for derivative work had to refer to the original source. This was later removed in 1999 in the “New BSD� or “Modified BSD� license.

What separates the newer three-clause BSD license from the MIT license is a clause stating that the name of the original copyright owner cannot be used to endorse any derivative work without prior permission. This eliminates any doubt about the right to use the person or organization’s name. Whether this clause is even required is debatable, because copyright and trademark laws are separate issues. Even though the MIT license does not declare this, we cannot assume permission of endorsement.

An additional two-clause “FreeBSD� or “Simplified BSD� license exists, which omits this endorsement clause and instead includes a disclaimer to disassociate any views made in derivative work from the original copyright owner. This can be seen as explicitly stating the opposite of an endorsement.

Both the MIT and BSD licenses give us complete freedom to copy, distribute and modify work for any purpose, provided that the original license and copyright notice are included. Derivative work can be released under another license or as proprietary software.

The Apache License

You can see from the BSD example just how difficult it is to word a license. There are so many ambiguities and connections to other laws that getting the point across is nearly impossible. Many more essentially “free� licenses have appeared in an attempt to make such intention clear.

The Apache License is a free software license that does not require the same license of derivative work. This means that code under the license can be used in open, free and proprietary software (like the MIT and BSD licenses).

Apache Logo-screenshot1 in Understanding Copyright And Licenses

It imposes the conditions that in any licensed file, all original copyright, attribution and trademark notices must be preserved. Additionally, with any modified work, a notice of change must be included. Any existing notices of change must also be kept. All of these notices must be distributed in a text file and in the source code or documentation.

This requirement to preserve modification notices makes the Apache license different from the MIT and BSD licenses. It also includes many more legal terms and conditions that (among other purposes) dissolves any liability of the original copyright owner.

The Apache license (version 2) is said to be GPL-compatible, meaning that a project containing code licensed under both must also be licensed under GPL version 3.

GNU General Public License

First written by Richard Stallman in 1989, the General Public License (GPL) is now at version 3 as of 2007. It was founded on the principle that we should be free to use, change, share and share changes to free software. No matter how the software is distributed, it remains free. This concept is called “copyleft.�

The basic principles of the GPL mean that, unlike the MIT, BSD and Apache licenses, work under GPL must remain under this license. GPL code can be sold, but no proprietary software can be derived from it. If you distribute any derivative work, then your source code must be made available under the same license. Essentially, once a work is released under the GPL, it remains GPL and no further restrictions can be applied.

Version 3 of the GPL specifically states that while code under the GPL can be used to implement digital rights management (DRM), using GPL code does not count as effective “protection,� and as such, anyone who breaks it cannot be help accountable under digital rights law.

Where Licenses Are Used

We already know that Wikipedia uses the Creative Commons Attribute-ShareAlike license and that Flickr allows users to choose a Creative Commons license. What else should we know?

Most JavaScript libraries are available under license by nature. jQuery, for example, is available under dual license: either MIT or GPL v2. Other libraries are available under MIT, such as Modernizr (which is also under BSD), Raphaël and Respond.js (also under GPL v2). You can use all of these libraries while reserving rights for your own derivative work, provided that you include the relevant copyright notices for these libraries.

Plug-Ins and Themes

WordPress and Drupal are important ones to note because they’re available only under GPL v2. This means that any derivative work must also be licensed under GPL; and according to the WordPress license page, this includes all plug-ins and themes:

Part of this license outlines requirements for derivative works, such as plugins or themes. Derivatives of WordPress code inherit the GPL license. […] There is some legal grey area regarding what is considered a derivative work, but we feel strongly that plugins and themes are derivative work and thus inherit the GPL license. If you disagree, you might want to consider a non-GPL platform…

Drupal’s licensing FAQ is more specific about this:

The GPL requires that if you make a derivative work of Drupal and distribute it to someone else, you must provide that person with the source code under the terms of the GPL so that they may modify and redistribute it under the terms of the GPL as well. However, you are under no obligation to distribute the code to anyone else. If you do not distribute the code but use it only within your organization, then you are not required to distribute it to anyone at all.

What does this mean? If you’re developing a WordPress or Drupal theme, it must be under GPL. You can distribute your work, should you choose.

If you’re developing a theme for personal use or for a client, you have little to worry about because you are not technically “distributing� it.

Selling themes on the open market is a gray area, because distribution must be under the GPL. The GPL allows you to sell this work, but it also allows others to redistribute and sell it, too; you can’t do much about that. However, theoretically, the only derivative work that falls under GPL is the PHP code; any images, CSS and other content in your project remain yours. On top of that, you are free to charge extra for technical support and so on.

Remember that while WordPress is open source and free under the GPL, it is still copyrighted. You have to respect its chosen license.

Does My Work Need A License?

If you’re publishing content online — be it design work, photography, blog articles, audio or video — then the default is “all rights reservedâ€�. Unless you publish it under a license (or through a Web service that reserves some rights for itself — and most do), then only you hold copyright. That’s great, but what do you gain by giving others permission?

In his article “Pick a License, Any License,� Jeff Atwood highlights the interesting example of developers who publish code on their blogs. Unless the developer states otherwise, no one has permission to use that code in their project. Always consider the benefits of others using and attributing your work: it could be great self-promotion!

It’s worth noting that you do not need to issue a license in order to give permission for someone to use your work. Some areas of the law favor verbal and contractual agreements over copyright.

Additionally, when using services such as Twitter and Flickr, you are probably giving those websites full rights to your work as part of their terms of service. These websites couldn’t operate without your content, but they do take every advantage of reserving full rights over the content you publish. This allows them to develop their service in different ways on the strength of your content.

Take this excerpt from Yahoo’s terms of service, which Flickr uses:

[…] you grant Yahoo! the royalty-free, perpetual, irrevocable, non-exclusive and fully sub-licensable right and license to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, perform and display such Content (in whole or part) worldwide and/or to incorporate it in other works in any form, media, or technology now known or later developed […]

That covers just about everything!

While Flickr allows you to upload photos under a Creative Commons license for others to use, you also grant Yahoo permission to do anything it likes with them. I’m not condemning Yahoo for this practice because it’s common to all Web services. I’m just highlight the importance of reading the terms and conditions and understanding where you publish work and what rights you’re giving away.

Final Thoughts

With this information, you should have a strong understanding of how copyright and licenses work, why they exist and what they achieve. Ignorance of copyright — as of any law — is no excuse. By understanding it, we can take advantage of the wealth of creative content across the Web. If you’re publishing work online, consider sharing it under a license. You never know what interesting things people will do with it.

As mentioned, this article is the result of my own research and is not legal advice. You’ll need the latter if you’re unsure about copyright licenses.

Further Reading

(al)


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The Story Of Scandinavian Design: Combining Function and Aesthetics

Advertisement in The Story Of Scandinavian Design: Combining Function and Aesthetics
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This article was written by Katrín Eyþórsdóttir, our talented and hard-working trainee from Iceland. As a designer with background in product design, Katrín is presenting her understanding of what has influenced the works of designers from Sweden, Norway and other North-European counties as well as the key attributes that these works possess.

For a long time, art has been heavily influenced by the social and political landscape. Searching through history, we find that while the social views of a certain period may no longer be relevant, the art and design of that time often are. Designers today constantly draw inspiration from history, consciously and unconsciously. Being aware of that history and knowing what has come before in your field can help you better convey the meaning in your work and forge deeper connections to your environment (artistic, social, political, etc.).

Looking back to the beginning of the 20th century and the styles and movements that ruled the art world at that time, we will look for influences and ideas that have evolved into what has been known since the mid-20th century as “Scandinavian design�. This article also offers some thoughts on how to incorporate its principles in your work today.

While the countries of Scandinavia have extreme differences, they do have some common cultural, geophysical and historical threads. Without implying that certain principles apply to all art and design in this area, this article gives an overview of the influences and state of art and design in the Nordic countries.

Historical Context

Modernism, a cultural movement that started at the end of the 19th century, was a break from the Realism that dominated the art world before. Realism’s source was the invention of the photograph and the artist’s desire to produce work that looked “real.� It was, hence, fairly conservative, and the art created in that movement was intended to be truthful and accurate. Modernism was an escape from this rigidity, and a multitude of cultural and aesthetic movements grew from it.

WMorrisTextile in The Story Of Scandinavian Design: Combining Function and Aesthetics
Snakehead printed cotton, William Morris, 1876.

Shortly after 1880, William Morris and the Arts and Crafts Movement, inspired by the social theories of John Ruskin, began expressing their distaste for the Industrial Revolution’s machine-made designs. They denounced the uniform and monotonous products that the machine stood for, and they revitalized traditional methods of manufacturing; in the textile arts, for example. Defending and praising nature in art, human creativity and faithfulness to traditional materials, they upheld Romanticism and folk tradition in all manner of crafts.

AlfonsMuchaBiscuitsOgCarlsbergThorvaldBindesboll in The Story Of Scandinavian Design: Combining Function and Aesthetics
Left: A French advertisement for biscuits in the Art Nouveau style, Alfons Mucha, 1896.
Right: A Carlsberg Pilsner label, Thorvald Bindesböll, 1904.

ThorvaldBindesbollLogos in The Story Of Scandinavian Design: Combining Function and Aesthetics
Logos by Thorvald Bindesböll for Danish football clubs, from 1876 and 1889.

Art Nouveau, also known as “Jugendstil,� was the first widely popular art movement of the 20th century. It was conceived as a “new style for a new century.� With a focus on decorative and applied arts, the movement was a conscious resistance to the ruling art and design institutions of the era.

Dating roughly from 1880 to 1910, Art Nouveau marked the beginning of Modernism and took nature as its inspiration. The use of decorative elements in domestic settings could even be viewed as metaphors for the status of the individual in society, and they made it evident that people were eager to break away from forms and set rules. More obvious social commentary was starting to emerge in art.

UrdOgBoraasArtNouveauShadow in The Story Of Scandinavian Design: Combining Function and Aesthetics
Left: Cover art for the Norwegian woman’s magazine Urd, Andreas Bloch and Olaf Krohn, 1900–1905.
Right: An Art Nouveau building in Borås, Sweden, by Swedish architect Lars Kellman, 1907.

Fluid shapes were used in all manner of work, be it architecture, furniture, textiles, painting or print. The style was widely celebrated as a break from the past, incorporating new and exotic materials from foreign countries, and with so-called “Japonisme� becoming popular in Western circles.

SanktHansApotekSkonvirke in The Story Of Scandinavian Design: Combining Function and Aesthetics
Interior of Sankt Hans Apothek (Saint John’s Pharmacy), representative of the Skønvirke style, in Odense, Denmark, 1903.

In Denmark, Skønvirke magazine started publishing in 1914. Its content was inspired by old Danish handicrafts and national Romanticism, with international influences appearing in decorations. The word “Skønvirke� became synonymous with Art Nouveau and Jugend. The delicate nature-inspired forms, graceful lines and colors fit the Scandinavian aesthetic well.

These were highly volatile times in Europe, partly because of the First World War and the growing unease with the social order. In art, everything became revolutionary instead of evolutionary, a reaction to the upheaval of war. Prior social forms and arrangements were seen as hindering civil progress, and the artist became a social and political activist. The goal was provocation, upheaval and a break from old systems. Many art movements stemmed from these broad social changes.

TractorAutomobilePlow1905 in The Story Of Scandinavian Design: Combining Function and Aesthetics
Machines were incorporated into existing methods as soon as they were invented. This image from 1905 shows an early version of the tractor for plowing fields.

The machine age was drastically changing living conditions, and the seeming futility and catastrophic loss of life from the First World War raised questions about the state of human morality. The world was changing, and this change was manifested in cinema, exhibitions, books and buildings for the public to soak up.

Scandinavia Early On

Scandinavia here means the countries of Northern Europe: Denmark, Sweden, Norway. Design from there is described by many as being fairly minimalist, with clean simple lines. Highly functional, the style is effective without needing heavy elements; only what is needed is used. Survival in the north required products to be functional, and this was the basis of all design from early on.

The subtle decorative qualities stemming from the early-20th century art movements and the simple lines deriving from the inter-war art movements gave this style its elegance. The concept of “beautiful things that make your life better� was highly regarded. Scandinavian design is often referred to as democratic design, because of its aim to appeal to the masses through products that are accessible and affordable.

This ideology comes from local institutions, such as the long-established Swedish Society of Industrial Design. The goal of this association was to promote design that the general public could access and enjoy. Such goals were greatly affected by social changes taking place in Europe at the time. Even though the designs were democratic and meant for the masses, they were not stripped of all beauty in order to make them as easy to use as possible; an inspiring thought. The importance of this balance was identified by Scandinavians early on and has been maintained ever since.

19301955 in The Story Of Scandinavian Design: Combining Function and Aesthetics
Left: Poster from the Stockholm Exhibition, 1930.
Right: Catalogue from the Helsingborg Exhibition, 1955.

Several exhibitions of Scandinavian design were held throughout Europe and North America. One of the earliest was the Stockholm Exhibition in 1930, where functionalism blossomed and artists and companies showcased their latest products. And concurrent with an official visit by the Danish Royal couple in 1960, the Arts of Denmark Exhibition was held at New York’s Metropolitan Museum of Arts.

DesignInScandinavia1954 in The Story Of Scandinavian Design: Combining Function and Aesthetics
Part of the Design in Scandinavia exhibition, which ran from 20 April to 16 May 1954.

The term “Scandinavian design� originates from a design show that traveled the US and Canada under that name from 1954 to 1957. Promoting the “Scandinavian way of living,� it exhibited various works by Nordic designers and established the meaning of the term that continues to today: beautiful, simple, clean designs, inspired by nature and the northern climate, accessible and available to all, with an emphasis on enjoying the domestic environment.

Exhibitions like these played a big role in spreading the word about Scandinavian design and in influencing the development of modernism in North America and Europe in many ways. The aesthetic had been evolving for decades by that time and was strongly influenced by art and design in Europe. It combined the trends that had emerged around the turn of the century, the clean forms that followed, as well as existing traditions in Scandinavia.

Social Consciousness In Art Movements

From about 1916 onwards, more political and social art groups became prominent in the European art world. The centuries-old establishments, academies and guilds had a long history of being steered by the ruling bourgeois. They were deeply interested in maintaining the social order, and the art that they created and commissioned reflected that. Holding on to old methods in painting and afraid of the turmoil represented by new movements, the establishment favored work that didn’t disrupt the status quo. The new movements viewed their work as being stagnant and as holding back the progress of the arts. These new movements celebrated the machine and embraced manufacturing technologies in the creation of art. Among these were the Constructivists in Russia, the Futurists in Italy, De Stijl in the Netherlands, Bauhaus in Germany and the Dadaists in Switzerland.

ElLissitzkyOgMalevichShadow in The Story Of Scandinavian Design: Combining Function and Aesthetics
Left: Suprematism (Supremus #58, Yellow and Black), Kazimir Malevich, 1916.
Right: Cover of the book Teyashim (Four Billy Goats), by Russian artist El Lissitzky, 1922.

KandinskyComposition8 in The Story Of Scandinavian Design: Combining Function and Aesthetics
Composition 8, Wassily Kandinsky, 1923.

The Constructivist movement viewed art as part of the social structure and used it as tool to communicate political and social messages. Some of the movement’s most famous artists were Vladimir Tatlin, Alexander Rodchenko, El Lissitzky, Malevich, Wassily Kandinsky (who later taught at Bauhaus) and the Stenberg brothers, Georgii and Vladimir, names still well known among graphic designers today. Participating heavily in public events and partially supported by the ruling political parties, they celebrated new technologies and machine art.

MondrianRedYellowBlueOgRietveldChair in The Story Of Scandinavian Design: Combining Function and Aesthetics
Left: Composition With Red, Yellow and Blue, Piet Mondrian, 1937–4.
Right: Red and Blue Chair, Gerrit Rietveld, 1917.

De Stijl was a Dutch art movement in which Piet Mondrian and Gerrit Rietveld were among the principal members. De Stijl emphasized pure abstraction and the reduction of everything to the essentials of form and color. Everything was simplified to vertical and horizontal lines and primary colors. Unlike many contemporary movements, De Stijl was a collective project, not a political or social movement.

BauhausDessau2 in The Story Of Scandinavian Design: Combining Function and Aesthetics
The Bauhaus building in Dessau, Germany, designed by Walter Gropius.

Bauhaus was a school in Germany that was famous for combining fine arts, crafts and technology; industrial and product design were highly regarded. The “Foundation Year� of many of today’s art and design schools has its origins here. It’s also where the field of modern furniture design started to take shape.

Highly influential, even today, the school’s three directors, Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe, spread their ideas when they left Germany before and during the Second World War. Ending up in various countries, they and many of the people who taught and studied at Bauhaus left behind a body of knowledge that many of today’s designers refer to in their work, often unknowingly.

The functionalism that Bauhaus espoused was prevalent in Scandinavian architecture. The Nordic countries adopted many styles for their buildings and came up with their own, but “funkis� (the term for functionalism there) become one of the more popular styles.

DerDada in The Story Of Scandinavian Design: Combining Function and Aesthetics
Cover of Der Data Magazine, edited by Raoul Hausmann.

Dadaism was a fairly short-lived cultural movement that started in Switzerland shortly after World War I. But Dadaist methods and views were adopted by many and live on. Focused on ridiculing the meaninglessness of the modern world, their work encompassed literature, visual arts and theater.

With Dadaism, abstract art started to find its footing, as well as performance art and what later evolved into Pop Art. Similar to Cubists, Dadaists made use of collage, assemblage and existing products to create new pieces. Against war, against the bourgeoisie and resembling an anarchist movement, Dadaists were active around the world, holding public demonstrations and publishing journals. Dadaism gradually mixed with surrealism and other cultural and artistic movements.

UmbertoBoccioniDynamism in The Story Of Scandinavian Design: Combining Function and Aesthetics
Dynamism of a Soccer Player, Umberto Boccioni, 1913.

In Italy, Futurism was an artistically and socially active movement that used all media, from film to food, to get its messages across. Futurism was an ideology that wanted nothing to do with the past; its proponents objected to what they regarded as stale thinking on the part of their contemporaries. Not having a distinct style of their own, they adopted the techniques of Cubism, which was the avant-garde art movement headed by Pablo Picasso, among others.

PicassoFactory in The Story Of Scandinavian Design: Combining Function and Aesthetics
Factory in Horta de Ebbo, Pablo Picasso, 1909.

Cubism radically changed approaches in European painting and sculpture, and its effects are still evident today.

Surrealism surged in popularity around 1920, and while many Scandinavian designers and artists were heavily influenced by the movement and incorporated it into their creations, Surrealism wasn’t greeted with wide open arms. Wilhelm Bjerke-Petersen, Rita Kernn-Larsen and Olav Stromme all dabbled in surrealism at one time or another.

The following is from a review of the exhibition “Anxiety and Desire: Surrealism in Scandinavia 1930–1950.â€� The author, Ausra Larbey, explains how social views within Nordic countries affected the popularity and acceptance of art movements:

Ironically, their revolutionary perspective found little understanding in workers’ environment. One saw Surrealism as expression of bourgeois individualism, dealing exclusively with intellectual problems of overclass. It was perceived as an immoral and egoistic form of art, self-absorbed and decadent. The rejection was so strong that artists moved away from abstract surrealism towards more naturalistic figurative style, and later in interviews denied they ever were Surrealists.

Many of the artists in these different movements knew each other and worked together, setting up exhibitions and publishing magazines. Many of these movements were highly political and advocated for social change through art. This influenced the Scandinavian art world and helped to shape the social changes that were taking place there.

Scandinavia

The styles and movements brewing in Europe at the beginning of the 20th century spread around the world. While they didn’t espouse the same message, they all contributed to the establishment of new forms and functions.

Modernism’s scope was far and wide and developed differently in each country. The ideology spread throughout Scandinavia, with designers and artists interacting with their contemporaries throughout Europe, aided by fast-developing media such as film. In Scandinavia, the ideas gradually evolved into design principles and philosophies that eventually had international effects.

SodraAngby in The Story Of Scandinavian Design: Combining Function and Aesthetics
Aerial photo of the Söndra Ängby residential neighborhood in Stockholm, Sweden, 1938. All of the houses are the same, built according to functionalist principals, and they are today a national cultural heritage.

Scandinavian designers were influenced by everything going on around them. With their tradition of craftsmanship and efficient use of limited material resources (due to their relative geographic isolation), they combined the best of both worlds. In line with prevailing democratic social views, everything was made to be available to everyone. The notion of enjoying the work you do was highly regarded, and the idea that beautiful things could enrich people’s lives was kept alive.

As mentioned, the Swedish Society of Industrial Design was established in 1845 to uphold and raise the high standards in various crafts-related professions. The fact that industrialization took place in Scandinavia later than in neighboring countries helped to preserve the handicraft tradition there.

Early in the 20th century, with more and more people moving from the countryside to cities, the Society broadened its scope and committed to raising standards of design in everyday life. The quest to make objects of high aesthetic quality available to the masses began in earnest during the 1920s and ’30s. Beauty, humanism and democratic ideals were the order of the day.

Trucks1930 in The Story Of Scandinavian Design: Combining Function and Aesthetics
Truck display during the 1930 Stockholm Exhibit.

Mass machine production did not dominate Scandinavia as much in the years between the two World Wars as it did in the US. The scale of the industry was much smaller, and after World War II more Scandinavian countries established institutions and schools to preserve the craft traditions. Processes derived from the crafts were integrated into commercial production, creating what became known as the industrial arts.

The thread running through Scandinavian design is functionalism. For hundreds of years, the need for products to just work was ingrained in the Scandinavian soul. It hadn’t been very long since this was a requirement for survival. The focus was on “need,� or function, not on decoration or beauty.

Moving into the machine age, surviving became easier, and functionalism evolved into also meeting the emotional needs of people. This gave Nordic functionalism a more natural and humanistic side. But there still existed more extreme approaches to functionalism, which stripped all decoration in favor of pure function.

Interior1930StockholmExhibition in The Story Of Scandinavian Design: Combining Function and Aesthetics
Interior of Stockholm Exhibition, 1930.

The long winters and few hours of sunlight inspired Scandinavian designers to create bright, light, practical environments. They tried to make the domestic environment as comfortable as possible with the materials at hand. These trends were picked up by neighboring countries and eventually spread all over the world. The high-quality designs live on today and are recreated continually in various fields, confirming their timelessness.

JacobsenStaircase1 in The Story Of Scandinavian Design: Combining Function and Aesthetics
The staircase and furniture in Aarhus Radhus (Aarhus town hall) were designed by Arne Jacobsen and his partners between 1937 and 1942.

Jacobsen7an-Kopie in The Story Of Scandinavian Design: Combining Function and Aesthetics
Jacobsen’s iconic 7 chair, made of form-bent wood and chromed steel legs.

Arne Jacobsen’s timeless designs in furniture and architecture are well known, and his contributions to the creative fields are secure in history. After winning several architectural competitions, Jacobsen became known for designs that brought futuristic visions into a present-day context. His simple yet effective chair designs enjoyed worldwide success.

PoulHenningsenLamp in The Story Of Scandinavian Design: Combining Function and Aesthetics
Lamp, Poul Henningsen.

Poul Henningsen’s distinctive lamp designs were well thought out. He looked for solutions to spread the light of a bulb as widely as possible without the glare being visible. It’s a good example of Scandinavian design: the beauty of the elegant smooth lines doesn’t prevent the lamp from performing its function exactly as it was designed to do.

WishBoneChairHansWegner in The Story Of Scandinavian Design: Combining Function and Aesthetics
Wishbone chair, Hans Wegner, 1950.

SwedishGrammarBook in The Story Of Scandinavian Design: Combining Function and Aesthetics
The book cover design for Modern Swedish Grammar, Immanuel Björkhage, 1966. Published in Stockholm by Kungl. Boktryckeriet P. A. Norstedt & Söner. An edition from 1923 is available online to page through.

MarimekkoFabric in The Story Of Scandinavian Design: Combining Function and Aesthetics
Marimekko’s bold prints made the company’s products an international success in the 1960s. Today, the company produces a wide range of items, but it is instantly recognizable by its graphics.

Scandinavian design has been perhaps most widely recognized in furniture, which spread the principles of its creators. Other fields, such as graphic design, followed these principles, particularly with regard to production and availability.

CarlLarsson in The Story Of Scandinavian Design: Combining Function and Aesthetics
My Friends, the Carpenter and the Painter, Carl Larsson.

The Scandinavian style isn’t only form-bent wood furniture in various shades of white and nature-inspired patterns and shapes. Splashes of color have been a big part of Nordic interiors for a long time. Late-19th century Swedish artist and designer Carl Larsson is famous for his bright and colorful paintings. His watercolors of painted furniture and folk art have been highly influential in Scandinavia.

DanishModernExhibitVernerPanton in The Story Of Scandinavian Design: Combining Function and Aesthetics
Panthella Lamp (1971) and Panton Chair (1967), by Verner Panton. The record albums in the background display several styles. The poster on the left shows Panton’s Visiona 2 environment. (Image credit)

One of Denmark’s most famous designers, Verner Panton, is known for his bold and abstract work in the ’60s, with a focus on new materials. Panton’s creations stood apart from those of his contemporaries, and his focus was more on what we today associate with Pop Art. Strong, dramatic colors and futuristic shapes dominated his work. His designs, along with those of Finnish designer Eero Aarnio and Finnish-American Eero Saarinen, have been used in a number of film productions and countless photo shoots to create a futuristic look.

AarnioGlobeChairOgSaarinenTulipanstolen in The Story Of Scandinavian Design: Combining Function and Aesthetics
Left: Globe Chair, Eero Aarnio, 1963–65.
Right: Tulip Chair, Eero Saarinen, 1957.

LogoSet3 in The Story Of Scandinavian Design: Combining Function and Aesthetics
These logos from the 1960s and 1970s are just a few examples of how, as in other fields, clean forms and well-considered elements dominated graphic design in Scandinavia.

Today

Scandinavian design has evolved with the times, moving from mostly furniture and product design to an application of principles and processes to current problems and opportunities. Its change has been just as dramatic as the society it’s a part of.

As mentioned, Scandinavian countries established institutions early on to promote and protect the various design industries. Svensk Form in Sweden demonstrates the benefits of good design for social development. The Danish Design Center highlights the value of design for Denmark-based businesses. The Iceland Design Centre organizes lectures and exhibitions and facilitates collaboration between local designers and artists. The Norwegian Design Council promotes design as a strategic tool for innovation. And the Nordic countries are home to some of the most interesting conferences in art and design, such as Iceweb (the Icelandic Web conference), Copenhagen Fashion Week and the Stockholm Furniture Fair.

ScandinaviaDesignFR in The Story Of Scandinavian Design: Combining Function and Aesthetics
The French store Scandinavia design sells Nordic design old and new, focusing on quality materials and a certain simplicity and love of everyday life. It helps to sustain the popularity of Scandinavian design.

The Scandinavian aesthetic, of mass-produced design that is accessible and available to all, with a touch of grace, reminds the user that the product’s creator is human.

In the digital world, where the interface for so many designs is keyboard, mouse and screen, the creator is sometimes forgotten. The human element is demoted in favor of expediency and functionality.

In an article about the utilitarian excellence of Scandinavian design, Lara Iziercich explains what makes the Scandinavian style so different.

Scandinavian marketing involves little more than promoting designs which are developed according and appropriate to the needs of the consumer. They aren’t intent on “selling� new design concepts to consumers. Scandinavian designers pride themselves on only creating functional, durable and cost- efficient products and goods. If people need something, they will buy it. If they don’t [need it], it doesn’t exist on the market to begin with.

StockholmDesignLabSE1 in The Story Of Scandinavian Design: Combining Function and Aesthetics
Swedish design firm Stockholm Design Lab focuses on corporate identity.

The principles of Scandinavian design — of prioritizing functionality without eliminating grace and beauty — might be a very good approach to Web design today. Granted, when Web design emerged as a profession, it focused mainly on functionality anyway, with some of it better executed than others. It wasn’t until graphic Web browsers started to dominate that graphics began to be heavily incorporated in Web design. How well Scandinavian functionality translates to the Web is debatable, and overgeneralizing is hardly fair. While most designers strive to keep their work functional, some have had more success than others.

CueRadioNO in The Story Of Scandinavian Design: Combining Function and Aesthetics
The website for online radio station Cue Radio was created by Moving Parts, a Norwegian design company.

Steadily yet quickly, Web designers have become masters of many trades that were once the domains of discrete professions. The beautiful thing is that, although Web designers have taken on more and more roles, these older professions have not died out. They evolved alongside the Internet. Today, Web design encompasses many fields, all working towards the goal of creating functional products.

IcelandicCowboysIS in The Story Of Scandinavian Design: Combining Function and Aesthetics
The navigation on the website for Icelandic production company Icelandic Cowboys Entertainment is clear and easy to understand (warning, though: auto-playing sounds). The website was created by Icelandic advertising agency Skapalón.

Scandinavian design has certain standards, and Web standards are currently being discussed and agreed on worldwide. Of course, some personal projects, niche websites and other Web designs do not focus purely on functionality, but rather exist to showcase a product or technique. All of these are as much a part of the Web design profession as everything else we’ve looked at. Intense debates and exchanges of opinion most often lead to further refinement and understanding of this young profession. And the field’s practitioners seek inspiration everywhere, constantly pushing the aesthetic, technological and functional boundaries of computers and the Internet.

ChoiceHotelsNO in The Story Of Scandinavian Design: Combining Function and Aesthetics
The designer for Choice Hotels Scandinavia got her inspiration from Eero Aarnio’s bubble chair.

While natural, bright, uncluttered design is popular in online content today, saying that all clean, simple and functional Web design today has its roots in Scandinavian design would be an overstatement.

NatMusIS in The Story Of Scandinavian Design: Combining Function and Aesthetics
The home page of Iceland’s National Museum is in Icelandic and English. It is clearly laid out, and its way-finding mechanisms would be familiar to users of similar websites. The design is fresh and modern, incorporating images that evoke the history of the museum’s exhibits.

With technology changing fast and getting more and more complex, it is as important as ever to know your tools and their possibilities. Businesses depend on having an online presence that is well thought out and that gives the visitor a good experience. Interaction with products and services has become a focal point of both offline and online user experiences.

When each day brings new ways to redefine design, the long-established principles of Scandinavian design — usability and simplicity, while retaining an element of humanity and of grace and beauty — could be key to achieving a successful outcome.

In The End

Art and design mirror the society they are a part of. But with the globalization of ideas increasing and the world of communication shrinking, a design will not be influenced solely by the culture in which it originates.

Being from Scandinavia myself, I can’t help but feel a close connection to the design here. It has certainly influenced my work: I have found myself at times wanting to adhere to its traditions and at other times distancing myself from them. But with a background in product design and media arts, I am used to keeping my eye open to ideas. Designer Simon Collision puts it well:

I believe that perception and meaning cut through disciplines, so something learned decades ago by an architect or furniture designer could help me understand elements of my work on the Web. I’d rather we investigate experiences and ideas than simply leverage everything from print design, as some suggest.

Regardless of how much this applies to your own design process, context almost always adds value to your work, whether you intend it to or not.

The democratic and humanistic principles spread by Scandinavian design and the sensitivity to materials and to researching and employing traditional methods are an important and influential part of design history. It’s worth diving into Scandinavian design, including its history, context and connotations, to discover all that it has to offer.

Understanding your materials and connecting with them emotionally will help you better conceptualize your work and in turn help your audience better connect with it. Scandinavian design history is a deep well of information and inspiration, whether for online content, furniture, sculpture or any of the many other aspects of life that designers and artists encounter daily.

Resources Referred to in This Article

References

Copyrights

This article is partly based on the following copyrighted Wikipedia articles, used under the Creative Commons Attributions-ShareAlike 3.0 Unported License (CC-BY-SA):

Related Posts

You might want to take a look at the following related articles on Smashing Magazine:

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A Graphic Design Primer, Part 1: The Elements of a Design

Advertisement in A Graphic Design Primer, Part 1: The Elements of a Design
 in A Graphic Design Primer, Part 1: The Elements of a Design  in A Graphic Design Primer, Part 1: The Elements of a Design  in A Graphic Design Primer, Part 1: The Elements of a Design

There are many elements that make up any visual design, whether it’s good or not. Becoming familiar with the parts of a design is necessary before you can start to apply the principles of good design to your own work, in the same way that a doctor needs to have an understanding of anatomy before he can learn to heal a patient.

There are seven basic elements of any design. Some are easier to grasp than others, but all are important. Once you can identify the elements of a design, whether it’s your own or someone else’s, you can learn how the principles of good design are best applied.

Line

Lines are generally present throughout a design. They can be thick or thin, straight or curved, solid or dashed or dotted. Lines can be any color and any style. Straight lines are often used as delineations between sections of a design, or they may be used to direct a viewer’s vision in one direction or another.

The width of a line has a direct effect on its visual impact. Thick lines are bold and strong; they draw attention to themselves. Thin lines tend to do the opposite. Color also effects the impact of a line, with brighter and darker colors drawing more attention than lighter and paler colors. The style of a line also has an effect: dotted or dashed lines are less imposing than solid lines.

Curved lines often give a more dynamic or fluid look to a design. They indicate movement and energy. They’re also more common in designs with an organic nature, as they’re more likely to be seen in nature. Straight lines are more formal and structured, and indicative of “civilized” culture.

Examples

Justdot
Justdot is another example of a site that uses a lot of curved and dashed lines to indicate movement and energy.

Justdot in A Graphic Design Primer, Part 1: The Elements of a Design

RePrint
RePrint uses a number of curved lines to direct the eye of the visitor.

Reprint in A Graphic Design Primer, Part 1: The Elements of a Design

VideoDSLR
VideoDSLR uses straight lines of varying widths to delineate content sections.

Videodslr in A Graphic Design Primer, Part 1: The Elements of a Design

Form

Forms are three-dimensional objects within a design, like a sphere or cube. You can have forms that are actually three-dimensional in your designs (like with product packaging), or forms that are actually two-dimensional but are displayed in a way as to imply that they’re three-dimensional (like a line-drawing of a cube).

Forms are common in actual three-dimensional graphic design, of course, but are also seen in web and print design. Website designs that use 3D techniques are making use of forms. Another common place to see forms is in logo designs where a sphere or cube is present.

Examples

Print Mor NYC
Print Mor NYC uses a 3D effect behind their main content.

Printmornyc in A Graphic Design Primer, Part 1: The Elements of a Design

Arlo Vance
Another example of a 3D effect in website design.

Arlovance in A Graphic Design Primer, Part 1: The Elements of a Design

Shape

Shapes are two-dimensional. Circles, squares, rectangles, triangles, and any other kind of polygon or abstract shape are included. Most designs include a variety of shapes, though deliberate use of specific shapes can give a design a certain mood or feeling.

For example, circles are often associated with movement, and also with organic and natural things. Squares are more often seen with orderly, structured designs. The color, style, and texture of a shape can make a huge difference in how it is perceived.

Examples

Method Design Lab
Method Design Lab uses ovals and other rounded shapes throughout their design.

Methoddesignlab in A Graphic Design Primer, Part 1: The Elements of a Design

Passion About Design
Circles are used throughout the design.

Passionaboutdesign in A Graphic Design Primer, Part 1: The Elements of a Design

Cappen
The Cappen site uses triangles throughout their site.

Cappen in A Graphic Design Primer, Part 1: The Elements of a Design

Texture

Textures are an important part of just about any design. Even designs that, on the surface, don’t seem to use textures actually are (“smooth” and “flat” are textures, too). Textures can add to the feeling and mood of a design, or they can take away.

The most commonly seen textures, apart from flat or smooth, are things like paper, stone, concrete, brick, fabric, and natural elements. Textures can be subtle or pronounced, used liberally or sparingly, depending on the individual design. But texture is an important aspect of design, that can have a surprising effect on how a design comes across.

Examples

The Heads of State
The Heads of State site uses a few subtle textures.

Theheadsofstate in A Graphic Design Primer, Part 1: The Elements of a Design

Doublenaut
Doublenaut uses a more pronounced texture in their background.

Doublenaut in A Graphic Design Primer, Part 1: The Elements of a Design

Cuban Council
The Cuban Council website uses textures on virtually every element of their design.

Cubancouncil in A Graphic Design Primer, Part 1: The Elements of a Design

Color

Color is often the most obvious thing about a design. We’re taught colors from an early age, and even go so far as to identify some things with color descriptors (“my green jacket” or “my red shoes”). Color is also capable of creating strong reactions among people, who consciously and subconsciously apply certain meanings or emotions to different colors (this is also influenced by culture, as many colors mean different things in different cultures).

Color theory is an important aspect of design, and something designers should at least have casual knowledge of. You should know the difference between a shade (when black is added to a pure color), tint (when white is added to a pure color) and tone (when gray is added to a pure color). You should also know terms like chroma, value, and hue. But more importantly, you should know how all these things work together to create a mood or feel in a design.

For a more complete overview of color theory, check out our archived series, Color Theory for Designers.

Examples

Go Live Button
The very bright colors used on the Go Live Button website have a definite impact on the perception of the visitor.

Golivebutton in A Graphic Design Primer, Part 1: The Elements of a Design

Camp David
The more muted colors here give a completely different feeling than the site above.

Campdavidfilm in A Graphic Design Primer, Part 1: The Elements of a Design

Old Putney Row to the Pole
The Old Putney Row to the Pole site uses darker but still muted colors, which gives yet another impression.

Rowtothepole in A Graphic Design Primer, Part 1: The Elements of a Design

Value

Value is closely related to color, but it’s more general. It’s how light or dark a specific design is. Again, this relates directly to the mood a piece gives. Darker designs convey a different feeling than lighter designs, even with all other design elements being equal. This is one reason you’ll often see designers releasing both light and dark versions of their themes.

Not every piece has a clear-cut value. With very colorful pieces, you might not really be able to tell how high or low the value is. One trick is to convert the design to grayscale, to get a better sense of how light or dark it is. You can also look at the histogram of an image to get an idea of where the value is more heavily concentrated.

Examples

This After That
This After That is an example of a site with a relatively light value.

Thisafterthat in A Graphic Design Primer, Part 1: The Elements of a Design

The Lounge
The Lounge has a relatively dark value.

Thelounge in A Graphic Design Primer, Part 1: The Elements of a Design

Space

There are two kinds of space in design: positive space and negative space. Positive space is that which is occupied by design elements. Negative space (also called “white space”) is the area that’s left over. The relationship between positive and negative space has a strong influence on how the design is perceived. Lots of negative space can give a piece a light, open feeling. A lack of negative space can leave a design feeling cluttered and too busy, especially if the designer is careless.

Negative space can create its own shapes and forms, which impact the design. Understanding the effect of negative space and how to use it to your advantage in a design is one of the most important techniques a designer can learn, and can make the difference between a good design and a great design.

Examples

80/20 Studio
80/20 Studio has a lot of negative space in their design.

8020studio in A Graphic Design Primer, Part 1: The Elements of a Design

Dazed Digital
Dazed Digital, on the other hand, has very little white space in their design.

Dazeddigital in A Graphic Design Primer, Part 1: The Elements of a Design

Poster Roast
Another example of a site without a whole lot of negative space.

Posterroast in A Graphic Design Primer, Part 1: The Elements of a Design

Up Next…

In the next installment, I’ll be covering the principles that make up a good design, and how to apply them to the elements we covered here.

Further Resources

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