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How To Use CSS3 Pseudo-Classes

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CSS3 is a wonderful thing, but it’s easy to be bamboozled by the transforms and animations (many of which are vendor-specific) and forget about the nuts-and-bolts selectors that have also been added to the specification. A number of powerful new pseudo-selectors (16 are listed in the latest W3C spec) enable us to select elements based on a range of new criteria.

Css3 in How To Use CSS3 Pseudo-Classes

Before we look at these new CSS3 pseudo-classes, let’s briefly delve into the dusty past of the Web and chart the journey of these often misunderstood selectors.

A Brief History Of Pseudo-Classes

When the CSS1 spec was completed back in 1996, a few pseudo-selectors were included, many of which you probably use almost every day. For example:

  • :link
  • :visited
  • :hover
  • :active

Each of these states can be applied to an element, usually <a>, after which comes the name of the pseudo-class. It’s amazing to think that these pseudo-classes arrived on the scene before HTML4 was published by the W3C a year later in December 1997.

CSS2 Arrives

Hot on the heels of CSS1 was CSS2, whose recommended spec was published just two years later in May 1998. Along with exciting things like positioning were new pseudo-classes: :first-child and :lang().

:lang
There are a couple of ways to indicate the language of a document, and if you’re using HTML5, it’ll likely be by putting <html lang="en"> just after the doc type (specifying your local language, of course). You can now use :lang(en) to style elements on a page, which is useful when the language changes dynamically.

:first-child
You may have already used :first-child in your documents. It is often used to add or remove a top border on the first element in a list. Strange, then, that it wasn’t accompanied by :last-child; we had to wait until CSS3 was proposed before it could meet its brother.

Why Use Pseudo-Classes?

What makes pseudo-classes so useful is that they allow you to style content dynamically. In the <a> example above, we are able to describe how links are styled when the user interacts with them. As we’ll see, the new pseudo-classes allow us to dynamically style content based on its position in the document or its state.

Sixteen new pseudo-classes have been introduced as part of the W3C’s CSS Proposed Recommendation, and they are broken down into four groups: structural pseudo-classes, pseudo-classes for the states of UI elements, a target pseudo-class and a negation pseudo-class.

W3c in How To Use CSS3 Pseudo-Classes
The W3C is the home of CSS.

Let’s now run through the 16 new pseudo-selectors one at a time and see how each is used. I’ll use the same notation for naming classes that the W3C uses, where E is the element, n is a number and s is a selector.

Sample Code

For many of these new selectors, I’ll also refer to some sample code so that you can see what effect the CSS has. We’ll take a regular form and make it suitable for an iPhone using our new CSS3 pseudo-classes.

Note that we could arguably use ID and class selectors for much of this form, but it’s a great opportunity to take our new pseudo-classes out for a spin and demonstrate how you might use them in a real-world example. Here’s the HTML (which you can see in action on my website):

<form>
 <hgroup>
 <h1>Awesome Widgets</h1>
 <h2>All the cool kids have got one :)</h2>
 </hgroup>
 <fieldset id="email">
 <legend>Where do we send your receipt?</legend>
 <label for="email">Email Address</label>
 <input type="email" name="email" placeholder="Email Address" />
 </fieldset>

 <fieldset id="details">
 <legend>Personal Details</legend>
 <select name="title" id="field_title">
  <option value="" selected="selected">Title</option>
  <option value="Mr">Mr</option>
  <option value="Mrs">Mrs</option>
  <option value="Miss">Miss</option>
 </select>

 <label for="firstname">First Name</label>
 <input name="firstname" placeholder="First Name" />

 <label for="initial">Initial</label>
 <input name="initial" placeholder="Initial" size="3" />

 <label for="surname">Surname</label>
 <input name="surname" placeholder="Surname" />
 </fieldset>

 <fieldset id="payment">
 <legend>Payment Details</legend>

 <label for="cardname">Name on card</label>
 <input name="cardname" placeholder="Name on card" />

 <label for"cardnumber">Card number</label>
 <input name="cardnumber" placeholder="Card number" />

 <select name="cardType" id="field_cardType">
  <option value="" selected="selected">Select Card Type</option>
  <option value="1">Visa</option>
  <option value="2">American Express</option>
  <option value="3">MasterCard</option>
 </select>

 <label for="cardExpiryMonth">Expiry Date</label>
 <select id="field_cardExpiryMonth" name="cardExpiryMonth">
  <option selected="selected" value="mm">MM</option>
   <option value="01">01</option>
   <option value="02">02</option>
   <option value="03">03</option>
   <option value="04">04</option>
   <option value="05">05</option>
   <option value="06">06</option>
   <option value="07">07</option>
   <option value="08">08</option>
   <option value="09">09</option>
   <option value="10">10</option>
   <option value="11">11</option>
   <option value="12">12</option>
 </select> /
 <select id="field_cardExpiryYear" name="cardExpiryYear">
   <option value="yyyy">YYYY</option>
    <option value="2011">11</option>
    <option value="2012">12</option>
    <option value="2013">13</option>
    <option value="2014">14</option>
    <option value="2015">15</option>
    <option value="2016">16</option>
    <option value="2017">17</option>
    <option value="2018">18</option>
    <option value="2019">19</option>
 </select>

 <label for"securitycode">Security code</label>
 <input name="securitycode" type="number" placeholder="Security code" size="3" />

 <p>Would you like Insurance?</p>
 <input type="radio" name="Insurance" id="insuranceYes" />
  <label for="insuranceYes">Yes Please!</label>
 <input type="radio" name="Insurance" id="insuranceNo" />
  <label for="insuranceNo">No thanks</label>

 </fieldset>

 <fieldset id="submit">
 <button type="submit" name="Submit" disabled>Here I come!</button>
 </fieldset>
</form>

Before-after in How To Use CSS3 Pseudo-Classes
Our form, before and after.

1. Structural Pseudo-Classes

According to the W3C, structural pseudo-classes do the following:

… permit selection based on extra information that lies in the document tree but cannot be represented by other simple selectors or combinators.

What this means is that we have selectors that have been turbo-charged to dynamically select content based on its position in the document. So let’s start at the beginning of the document, with :root.

Selectors-level-screenshot in How To Use CSS3 Pseudo-Classes
Level 3 selectors on the W3C website.

E:root

The :root pseudo-class selects the root element on the page. Ninety-nine times out of a hundred, this will be the <html> element. For example:

:root { background-color: #fcfcfc; }

It’s worth noting that you could style the <html> element instead, which is perhaps a little more descriptive:

html { background-color: #fcfcfc; }

iPhone Form Example
Let’s move over to our sample code and give the document some basic text and background styles:

:root {
color: #fff;
text-shadow: 0 -1px 0 rgba(0,0,0,0.8);
background: url(…/images/background.png) no-repeat #282826; }

E:nth-child(n)

The :nth-child() selector might require a bit of experimentation to fully understand. The easiest implementation is to use the keywords odd or even, which are useful when displaying data that consists of rows or columns. For example, we could use the following:

ul li:nth-child(odd) {
background-color: #666;
color: #fff; }

This would highlight every other row in an unordered list. You might find this technique extremely handy when using tables. For example:

table tr:nth-child(even) { … }

The :nth-child selector can be much more specific and flexible, though. You could select only the third element from a list, like so:

li:nth-child(3) { … }

Note that n does not start at zero, as it might in an array. The first element is :nth-child(1), the second is :nth-child(2) and so on.

We can also use some simple algebra to make things even more exciting. Consider the following:

li:nth-child(2n) { … }

Whenever we use n in this way, it stands for all positive integers (until the document runs out of elements to select!). In this instance, it would select the following list items:

  • Nothing (2 × 0)
  • 2nd element (2 × 1)
  • 4th element (2 × 2)
  • 6th element (2 × 3)
  • 8th element (2 × 4)
  • etc.

This actually gives us the same thing as nth-child(even). So, let’s mix things up a bit:

li:nth-child(5n) { … }

This gives us:

  • Nothing (5 × 0)
  • 5th element (5 × 1)
  • 10th element (5 × 2)
  • 15th element (5 × 3)
  • 20th element (5 × 4)
  • etc.

Perhaps this would be useful for long lists or tables, perhaps not. We can also add and subtract numbers in this equation:

li:nth-child(4n + 1) { … }

This gives us:

  • 1st element ((4 × 0) + 1)
  • 5th element ((4 × 1) + 1)
  • 9th element ((4 × 2) + 1)
  • 13th element ((4 × 3) + 1)
  • 17th element ((4 × 4) + 1)
  • etc.

SitePoint points out an interesting quirk here. If you set n as negative, you’ll be able to select the first x number of items like so:

li:nth-child(-n + x) { … }

Let’s say you want to select the first five items in a list. Here’s the CSS:

li:nth-child(-n + 5) { … }

This gives us:

  • 5th element (-0 + 5)
  • 4th element (-1 + 5)
  • 3rd element (-2 + 5)
  • 2nd element (-3 + 5)
  • 1st element (-4 + 5)
  • Nothing (-5 + 5)
  • Nothing (-6 + 5)
  • etc.

If you’re listing data in order of popularity, then highlighting, say, the top 10 entries might be useful.

WebDesign & Such has created a demo of zebra striping, which is a perfect example of how you might use nth-child in practice.

Zebra-Striping-a-Table-with-CSS3 in How To Use CSS3 Pseudo-Classes
Zebra striping a table with CSS3.

If none of your tables need styling, then you could do what Webvisionary Awards has done and use :nth-child to style alternating sections of its website. Here’s the CSS:

section > section:nth-child(even) {
background:rgba(255,255,255,.1)
url("../images/hr-damaged2.png") 0 bottom no-repeat;
}

The effect is subtle on the website, but it adds a layer of detail that would be missed in older browsers.

WVA-2011 in How To Use CSS3 Pseudo-Classes
The :nth-child selectors in action on Webvisionary Awards.

iPhone Form Example
We could use :nth-child in a few places in our iPhone form example, but let’s focus on one. We want to hide the labels for the first three fieldsets from view and use the placeholder text instead. Here’s the CSS:

form:nth-child(-n+3) label { display: none; }

Here, we’re looking for the first three children of the <form> element (which are all fieldsets in our code) and then selecting the label. We then hide these labels with display: none;.

E:nth-last-child(n)

Not content with confusing us all with the :nth-child() pseudo-class, the clever folks over at the W3C have also given us :nth-last-child(n). It operates much like :nth-child() except in reverse, counting from the last item in the selection.

li:nth-last-child(1) { … }

The above will select the last element in a list, whereas the following will select the penultimate element:

li:nth-last-child(2) { … }

Of course, you could create other rules, like this one:

li:nth-last-child(2n+1) { … }

But you would more likely want to use the following to select the last five elements of a list (based on the logic discussed above):

li:nth-last-child(-n+5) { … }

If this still doesn’t make much sense, Lea Verou has created a useful CSS3 structural pseudo-class selector tester, which is definitely worth checking out.

CSS3-structural-pseudo-class-selector-tester in How To Use CSS3 Pseudo-Classes
CSS3 structural pseudo-class selector tester.

iPhone Form Example
We can use :nth-last-child in our example to add rounded corners to our input for the “Card number.� Here’s our CSS, which is overly specific but gives you an idea of how we can chain pseudo-selectors together:

fieldset:nth-last-child(2) input:nth-last-of-type(3) {
border-radius: 10px; }

We first grab the penultimate fieldset and select the input that is third from last (in this case, our “Card number� input). We then add a border-radius.

:nth-of-type(n)

Now we’ll get even more specific and apply styles only to particular types of element. For example, let’s say you wanted to style the first paragraph in an article with a larger font. Here’s the CSS:

article p:nth-of-type(1) { font-size: 1.5em; }

Perhaps you want to align every other image in an article to the right, and the others to the left. We can use keywords to control this:

article img:nth-of-type(odd) { float: right; }
article img:nth-of-type(even) { float: left; }

As with :nth-child() and :nth-last-child(), you can use algebraic expressions:

article p:nth-of-type(2n+2) { … }
article p:nth-of-type(-n+1) { … }

It’s worth remembering that if you need to get this specific about targeting elements, then using descriptive class names instead might be more useful.

Simon Foster has created a beautiful infographic about his 45 RPM record collection, and he uses :nth-of-type to style some of the data. Here’s a snippet from the CSS, which assigns a different background to each genre type:

ul#genre li:nth-of-type(1) {
  width:32.9%;
	background:url(images/orangenoise.jpg);
}
ul#genre li:nth-of-type(2) {
  width:15.2%;
	background:url(images/bluenoise.jpg);
}
ul#genre li:nth-of-type(3) {
  width:13.1%;
	background:url(images/greennoise.jpg);
}

And here’s what it looks like on his website:

For-The-Record in How To Use CSS3 Pseudo-Classes
The :nth-of-type selectors on “For the Record.�

iPhone Form Example
Let’s say we want every second input element to have rounded corners on the bottom. We can achieve this with CSS:

input:nth-of-type(even) {
border-bottom-left-radius: 10px;
border-bottom-right-radius: 10px; }

In our example, we want to apply this only to the fieldset for payment, because the fieldset for personal details has three text inputs. We’ll also get a bit tricky and make sure that we don’t select any of the radio inputs. Here’s the final CSS:

#payment input:nth-of-type(even):not([type=radio]) {
border-bottom-left-radius: 10px;
border-bottom-right-radius: 10px;
border-bottom: 1px solid #999;
margin-bottom: 10px; }

We’ll explain :not later in this article.

:nth-last-of-type(n)

Hopefully, by now you see where this is going: :nth-last-of-type() starts at the end of the selected elements and works backwards.

To select the last paragraph in an article, you would use this:

article p:nth-last-of-type(1) { … }

You might want to choose this selector instead of :last-child if your articles don’t always end with paragraphs.

:first-of-type and :last-of-type

If :nth-of-type() and :nth-last-of-type() are too specific for your purposes, then you could use a couple of simplified selectors. For example, instead of this…

article p:nth-of-type(1) {
font-size: 1.5em; }

… we could just use this:

article p:first-of-type {
font-size: 1.5em; }

As you’d expect, :last-of-type works in exactly the same way but from the last element selected.

iPhone Form Example
We can use both :first-of-type and :last-of-type in our iPhone example, particularly when styling the rounded corners. Here’s the CSS:

fieldset input:first-of-type:not([type=radio]) {
border-top-left-radius: 10px;
border-top-right-radius: 10px; }

fieldset input:last-of-type:not([type=radio]) {
border-bottom-left-radius: 10px;
border-bottom-right-radius: 10px; }

The first line of CSS adds a top rounded border to all :first-of-type inputs in a fieldset that aren’t radio buttons. The second line adds the bottom rounded border to the last input element in a fieldset.

:only-of-type

There’s one more type selector to look at: :only-of-type(). This is useful for selecting elements that are the only one of their kind in their parent element.

For example, consider the difference between this CSS selector…

p {
font-size: 18px; }

… and this one:

p:only-of-type {
font-size: 18px; }

The first selector will style every paragraph element on the page. The second element will grab a paragraph that is the only paragraph in its parent.

This could be handy when you are styling content or data that has been dynamically outputted from a database and the query returns only one result.

Devsnippet has created a demo in which single images are styled differently from multiple images.

Only-of-type-Pseudo-Class in How To Use CSS3 Pseudo-Classes
Devsnippet’s demo for :only-of-type.

iPhone Form Example
In the case of our iPhone example, we can make sure that all inputs that are the only children of a fieldset have rounded corners on both the top and bottom. The CSS would be:

fieldset input:only-of-type {
border-radius: 10px; }

:last-child

It’s a little strange that :first-child was part of the CSS2 spec but that its partner in crime, :last-child, didn’t appear until CSS3. It takes no expressions or keywords here; it simply selects the last child of its parent element. For example:

li {
border-bottom: 1px solid #ccc; }

li:last-child {
border-bottom: none; }

This is a useful way to remove bottom borders from lists. You’ll see this technique quite often in WordPress widgets.

Rachel Andrew looks at :last-child and other CSS pseudo-selectors in her 24 Ways article “Cleaner Code With CSS3 Selectors.� Rachel shows us how to use this selector to create a well-formatted image gallery without additional classes.

Screen-shot-2011-03-22-at-21 49 46 in How To Use CSS3 Pseudo-Classes
The CSS for :last-child in action, courtesy of Rachel Andrew.

:only-child

If an element is the only child of its parent, then you can select it with :only-child. Unlike with :only-of-type, it doesn’t matter what type of element it is. For example:

li:only-child { … }

We could use this to select list elements that are the only list elements in their <ol> or <ul> parent.

:empty

Finally, in structural pseudo-classes, we have :empty. Not surprisingly, this selects only elements that have no children and no content. Again, this might be useful when dealing with dynamic content outputted from a database.

#results:empty {
background-color: #fcc; }

You might use the above to draw the user’s attention to an empty search results section.

2. The Target Pseudo-Class

:target

This is one of my favourite pseudo-classes, because it allows us to style elements on the page based on the URL. If the URL has an identifier (that follows an #), then the :target pseudo-class will style the element that shares the ID with the identifier. Take a URL that looks like this:

http://www.example.com/css3-pseudo-selectors#summary

The section with the id summary can now be styled like so:

:target {
background-color: #fcc; }

This is a great way to style elements on pages that have been linked to from external content. You could also use it with internal anchors to highlight content that users have skipped to.

Perhaps the most impressive use of :target I’ve seen is Corey Mwamba’s Scrolling Site of Green. Corey uses some creative CSS3 and the :target pseudo-class to create animated tabbed navigation. The demo contains some clever use of CSS3, illustrating how pseudo-classes are often best used in combination with other CSS selectors.

Coreys-scrolling-site-of-green in How To Use CSS3 Pseudo-Classes
Corey’s Scrolling Site of Green.

There’s also an interesting example over at Web Designer Notebook. In it, :target and Webkit animations are used to highlight blocks of text in target divs. Chris Coyier also creates a :target-based tabbing system at CSS-Tricks.

iPhone Form Example
As you’ll see on my demo page, I’ve added a navigation bar at the top that skips down to different sections of the form. We can highlight any section the user jumps to with the following CSS:

:target {
background-color: rgba(255,255,255,0.3);

-webkit-border-radius:
10px;}

3. The UI Element States Pseudo-Classes

:enabled and :disabled

Together with :checked, :enabled and :disabled make up the three pseudo-classes for UI element states. That is, they allow you to style elements (usually form elements) based on their state. A state could be set by the user (as with :checked) or by the developer (as with :enabled and :disabled). For example, we could use the following:

input:enabled {
background-color: #dfd; }

input:disabled {
background-color: #fdd; }

This is a great way to give feedback on what users can and cannot fill in. You’ll often see this dynamic feature enhanced with JavaScript.

iPhone Form Example
To illustrate :disabled in practice, I have disabled the form’s “Submit� button in the HTML and added this line of CSS:

:disabled {
color: #600; }

The button text is now red!

:checked

The third pseudo-class here is :checked, which deals with the state of an element such as a checkbox or radio button. Again, this is very useful for giving feedback on what users have selected. For example:

input[type=radio]:checked {
font-weight: bold; }

iPhone Form Example
As a flourish, we can use CSS to highlight the text next to each radio button once the button has been pressed:

input:checked + label {
text-shadow: 0 0 6px #fff; }

We first select any input that has been checked, and then we look for the very next <span> element that contains our text. Highlighting the text with a simple text-shadow is an effective way to provide user feedback.

4. Negation Pseudo-Class

:not

This is another of my favorites, because it selects everything except the element you specify. For example:

:not(footer) { … }

This selects everything on the page that is not a footer element. When used with form inputs, they allow us to get a little sneakier:

input:not([type=submit]) { … }
input:not(disabled) { … }

The first line selects every form input that’s not a “Submit� button, which is useful for styling forms. The second selects all input elements that are not enabled; again useful for giving feedback on how to fill in a form.

iPhone User Example
You’ve already seen the :not selector in action. It’s particularly powerful when chained with other CSS3 pseudo-selectors. Let’s take a closer look at one example:

fieldset input:not([type=radio]) {
margin: 0;
width: 290px;
font-size: 18px;
border-radius: 0;
border-bottom: 0;
border-color: #999;
padding: 8px 10px;}

Here we are selecting all inputs inside fieldset elements that are not radio buttons. This is incredibly useful when styling forms because you will often want to style text inputs different from select boxes, radio buttons and “Submit� buttons.

Check out our final page.

What’s Old Is New Again

Let’s go back to the beginning of our story and the humble a:link. HTML5 arrived on the scene recently and brought with it an exciting change to the <a> element that gives the CSS3 pseudo-selector an additive effect.

An <a> element can now be wrapped around block-level elements, turning whole sections of your page into links (as long as those sections don’t contain other interactive elements). Whereas JavaScript was once popular for making entire <div> elements clickable, you can now do so by wrapping sections in <a> tags, like so:

<a href="http://www.smashing-magazine.com">
<div id="advert">
<hgroup>
<h1>Jackson’s Widgets</h1>
<h2>The finest widgets in Kentucky</h2>
</hgroup>
<p>Buy Jackson’s Widgets today,
and be sure of a trouble-free life for you,
your widget and your machinery.
Trusted and sold since 1896.</p>
</div>
</a>

The implication for CSS pseudo-selectors is that you can now style a <div> based on whether it is being hovered over (a:hover) or is active (a:active), like so:

a:hover #advert {
background-color: #f7f7f7; }

Anything that decreases JavaScript and increases semantic code has to be good!

Cross-Browser Compatibility

You had to ask, didn’t you! Unbelievably, Internet Explorer 8 (and earlier) doesn’t support any of these selectors, whereas the latest versions of Chrome, Opera, Safari and Firefox all do. Before your blood boils, consider the following solutions.

Internet Explorer 9

Unless you’ve been living under a rock for the last week, you’ll have heard that Microsoft unleashed its latest browser on an unsuspecting public. The good thing is, it’s actually quite good. While I don’t expect people who are reading this article to change their browsing habits, it’s worth remembering that the majority of the world uses IE; and thanks to Windows Update and a global marketing campaign, we can hope to see IE9 as the dominant Windows browser in the near future. That’s good for Web designers, and it’s good for pseudo-selectors. But what about IE8 and its ancestors?

Ie9 in How To Use CSS3 Pseudo-Classes
Internet Explorer 9 is here.

JavaScript

Our old friend JavaScript comes to the rescue. I particularly like Selectivizr by Keith Clark. Keith has put together a lovely script that, in combination with your JavaScript library of choice, adds CSS3 pseudo-class selector functionality for earlier versions of IE. Be warned that some libraries fare better than others: if you’re using MooTools with Selectivizr, then all the pseudo-classes will be available, but if you’re relying on jQuery to do the heavy lifting, then a number of the selectors won’t work at all.

Selectivizr in How To Use CSS3 Pseudo-Classes
Selectivizr.

Keith recently released a jQuery plug-in that extends jQuery to include support for the following CSS3 pseudo-class selectors:

  • :first-of-type
  • :last-of-type
  • :only-of-type
  • :nth-of-type
  • :nth-last-of-type

It’s also worth looking at the ubiquitous ie7.js script (and its successors) by Dean Edwards. This script solves a number of IE-related problems, including CSS3 pseudo-selectors.

So, Should We Start Using CSS3 Pseudo-Selectors Today?

I guess the answer to that question depends on how you view JavaScript. It’s true that pseudo-selectors can be completely replaced with classes and IDs; but it’s also true that, when styling complex layouts, pseudo-selectors are both incredibly useful and the natural next step for your CSS. If you find that they improve the readability of your CSS and reduce the need for (non-semantic) classes in your HTML, then it I’d definitely recommend embracing them today.

You could use two selectors and fall back on a class name, but that would just duplicate work. It also means that you wouldn’t need the pseudo-classes in the first place. But if you did choose to go down this path, the code might look something like this:

li:nth-of-type(3),
li.third { … }

This method is not as flexible as using pseudo-classes because you have to keep updating the HTML and CSS when the page content changes.

If a lot of your users don’t have JavaScript enabled, that puts you in a bit of a bind. Many Web designers argue that functionality (i.e. JavaScript) is different from layout (i.e. CSS), and so you should not rely on JavaScript to make pseudo-selectors work in IE8 and earlier.

While I agree with the principle, in practice I believe that providing the best possible experience to 99% of your users is better than accounting for the remaining 1% (or however big your non-JavaScript base may be).

Follow your website’s analytics, and be prepared to make decisions that improve your skills as a Web designer and, more importantly, provide the best experience possible to the majority of users.

Final Thoughts

It’s hard not to be depressed by IE8’s complete lack of support for pseudo-classes. Arguably, having the browser calculate and recalculate page styles in this fashion will have implications for rendering speed; but because all other major browsers now support these selectors, it’s frustrating that most of our users can’t benefit from them without a JavaScript hack.

But as Professor Farnsworth says, “Good news everyone!� Breaking on the horizon is the dawn of Internet Explorer 9, and Microsoft has made sure that its new browser supports each and every one of the selectors discussed in this article.

CSS3 pseudo-selectors won’t likely take up large chunks of your style sheets. They are specific yet dynamic and are more likely, at least initially, to add finishing touches to a page than to set an overall style. Perhaps you want to drop the bottom border in the last item of a list, or give visual feedback to users as they fill in a form. This is all possible with CSS3, and as usage becomes more mainstream, I expect these will become a regular part of the Web designer’s toolbox.

If you’ve seen any interesting or exciting uses of these selectors out there in the field, do let us know in the comments below.

Other Resources

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

(al) (ik)


© Richard Shepherd for Smashing Magazine, 2011. | Permalink | Post a comment | Smashing Shop | Smashing Network | About Us
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Designing For The Future Web

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Designing for the future Web. That’s a big subject. Where do we start when we’re talking about something that isn’t here yet?

In this article, we’ll look at what the future Web might look like and how we can adapt our current skills to this new environment, as well as how to create fluid websites that are built around a consistent core and that adapt to the limitations and features of the device on which they are viewed. We’ll also look at how our conceptual approach to designing websites should evolve: designing from the simplest design upwards, and not from the richest website down.

But before we get to that, let’s start with a question. What do we mean by the “future Web�?

What Is The Future Web?

Google-Classic in Designing For The Future Web
Back in the old days: analogous Google queries would have taken 30 days. Image: dullhunk

The one word that I hear more than any other at the moment is mobile. Mobile websites, mobile devices, mobile apps: the list seems to go on and on. In fact, a large swell of opinion says that the future Web is mobile.

But despite all this, focusing just on mobile isn’t the answer.

The way we access the Internet is changing, of that we can be certain. And in the short term, this does mean more mobile devices. But in the long term, we have to look a little wider. Thomas Husson, senior analyst for Forrester, summed it up nicely in his 2011 Mobile Trends report when he said, “The term mobile will mean a lot more than mobile phones.� In the long term, the word we should use instead of mobile is portable.

Why Portable? How Has the Internet Changed to Make It So?

First, the physical infrastructure of the Internet is spreading rapidly, so that our ability to access the Internet wherever we are grows daily. In the last 10 years, the number of Internet users has grown by 444.8% and now includes 28.7% of the population. That’s nearly 2 billion people, the majority of whom are in Asia. This growth is fuelled by investment in the underlying hardware that gives us access to the Internet: millions and millions of computers, millions of miles of cables, hundreds of thousands of wireless hotspots and, on top of all this, growing 3G coverage around the globe (around 21% by the end of 2010 according to Morgan Stanley).

Secondly, the way we use the Internet is changing. We are increasingly orienting our online experience around services rather than search engines. Services such as Facebook, Twitter and LinkedIn are becoming the hub for our online life, and we are blending them to create our own unique Web of content: Facebook for our social life, LinkedIn for our professional life, Spotify for music, Netflix for television and film. We’re seeing a very different form of information consumption here, one in which we expect information to be pushed to us through our social circle, the people whom we trust. We’re moving away from the old paradigm of information retrieval, in which we are expected to seek information using search engines and links.

Some of these services are tied to a single device, but increasingly they are available across multiple platforms, including the desktop, mobile apps, Internet-enabled TVs and others. Only last month, Samsung created the first tweeting refrigerator. Okay, that might not be the greatest use of an Internet connection, but it is an example of how these services are starting to spread out, away from the desktop and into our everyday lives. Evrythng, a start-up currently in beta, is working on a platform that would give any physical object an online presence, effectively making the Internet an ubiquitous entity containing data that can be consumed anywhere and by anything.

Given these changes, it’s important that we not be overly rigid in our approach to creating new Web content; we mustn’t allow ourselves to think in terms of devices. Right now, we are producing mobile apps and standard websites to deliver our services, but in a few years’ time, we may be looking at a completely different landscape, one where knowing exactly where and how our content is being viewed is impossible. Our content must be portable in the sense that it can be displayed anywhere.

Social-Media-Infographic in Designing For The Future Web
Media marketers have responded to the increasing use of mobile media. (Image: birgerking)

We may also find ourselves having to decide whether to concentrate on particular devices and channels at the expense of audience numbers or to take a less tailored approach and serve the widest spectrum possible.

Regardless of the route we take, the ability to deliver a consistent experience across all channels is paramount, and our ability as designers and developers to understand the options and deliver this consistency to our clients will be crucial.

So, this is the future Web, a mish-mash of devices and channels. Sounds good, doesn’t it? Let’s go back to the key word, portability.

How Do We Design For The Portable Web?

Ask yourself, how would your latest project cope in the following scenarios:

  1. The user is watching House on their new Internet TV. Hugh Laurie’s not on screen, so the user decides to check their email. A friend has sent a link to your website, which the user opens in a sidebar and views simultaneously with the program.
  2. The user is on a train back from work, probably delayed somewhere, accessing your website via 3G on an iPad
  3. The user is on a client’s website. They need to access your website to read an article, but they have only a company-supplied Sony Ericsson with Opera Mini installed.

Each of these scenarios presents us with a different problem to solve: (1) an odd aspect-ratio and browser combination, (2) a good display area but slow connection and (3) a very small display area. And they are all very possible scenarios. The first Internet TVs by big brands are now available from the big retailers. Opera Mini has over 85.5 million users and is the dominant browser in many areas of the world; in fact, in Asia, Opera and Nokia (with their combined 66.33% market share) are way ahead of the third-place browser (which is BlackBerry, with a 9.81% share). And Deloitte has predicted that 2011 will be the year of the tablet and that 50% of the “computing devices� sold will not be PCs.

Chances are that, unless you’ve really thought about it (and if you have, then you probably don’t need to read this article), your website won’t work in all of those cases.

When designing for the portable Web, we need to be aware of three things: design, content and integration. Approached in the right way, we can create websites that are accessible across the widest user base and that provide a consistent experience regardless of access method.

Consistent? How?

When faced with a multitude of devices to design for, all with varying specifications, the last goal that might come to mind is consistency, and with good reason. And yet we should be striving to achieve consistency. Not in design but in experience.

Conceptually, we should be thinking about our design in two layers: the core content or service, and then the display layer. The core of our website should not change from device to device, and it should deliver a consistent experience. As we shall see shortly, this means that we must ensure that elements such as the content and the navigation patterns work the same way always.

Tag-Cloud in Designing For The Future Web
The web’s future consists of vast possibilities, considering them all is virtually impossible. That is why we need consistency! Image: Juhan Sonin

Let’s say our user is at work and is browsing our website on an iPad. They work through the carefully designed navigation hierarchy to get to the piece of content that they want to read, but they are interrupted by a phone call and have to stop browsing. Later, on the train home, they access the website again, this time via their phone. The visual elements of the design will be different—by necessity—but crucially, the routes they took to find the content should be exactly the same, as should the content they read when they got there.

This consistency of experience is what will allow us to create great websites for the portable Web and a complete user experience.

Where Do I Start? And How Will I Know When I Get There?

If a single consistent experience is our goal, this begs the question, should we create a mobile website that scales up or a desktop website that degrades?

The answer is neither. We should try to create a single design that can be used across all devices without alteration. But in practice, at least for the moment, we should start with the simplest website and work up.

Why? Let’s go back to the introduction. On the portable Web, we have no control over how our content will be used or viewed, and as such we must throw out the idea that we are designing for a particular device or device size. We must approach the design of our website in a different way, one in which we create the core content or service first. After all, this will define our website in the end, not the visual elements. This may seem difficult initially, but as we shall see, many of the best practices for desktop website development hold true for the portable Web, especially with regard to content structure.

To recap, here are the key rules to bear in mind when working through a design for the portable Web:

  1. The website should be available to as wide an audience as possible;
  2. The website should contain the same content wherever it is viewed, where feasible;
  3. The website’s structure should be the same wherever it is viewed;
  4. The content should be displayed in a manner that is appropriate to its environment.

A website that meets all of these criteria would fit snugly in the future portable Web. But how do we go about making our websites do this?

Designing For The Portable Web

Design Using Web Standards: That Means HTML5

HTML5 Badge 1281 in Designing For The Future Web The good news is that the two most common browser engines on mobile, Webkit and Opera, both support HTML5 very well; Webkit has supported HTML5 at least partially since November 2007.

Using standard and descriptive mark-up throughout our websites will have the benefit of delivering consistent output across most devices. And the extended capabilities of HTML5 to deliver media, animation and local storage make it a great choice for mobile applications.

These three abilities allow HTML5 websites to reproduce behaviours usually associated with native mobile applications, closing the experience gap between the two. Video can now be played natively through HTML5 using the video tag, while animations can be played using the HTML5 canvas. Finally, local storage allows a website to store database-like information on the device, allowing for fully functional offline use of the website.

YouTube, Netflix and Gmail all have HTML5 versions of their websites that are designed for the mobile experience and that take advantage of the new capabilities of HTML5. They’re a great starting point for any developer who wants to see what can be achieved.

HTML5 is now ready to be used for development, and there’s no reason why you can’t start right away. Many excellent resources and tutorials are available to help you get started:

To get started using HTML5 in your projects, you can take advantage of any one of the number of development environments that support it. The most complete implementation is through Adobe’s Dreamweaver CS5; an HTML5 support pack can be downloaded that extends the built-in editor. Aptana also supports HTML5 in its beta of Aptana Studio 3. Links are provided at the end of this article.

Start Simple, Work Up

Thinking portable means thinking clean and simple. The wide variation in screen sizes—from a 40-inch LCD running at 1920 × 1080 pixels to a portrait-orientation mobile screen at 320 × 240 pixels—means that we must create designs that are scalable and adaptive. We must also be aware that someone may be interacting via a remote control or a fat stubby finger on a touchscreen. The simpler the design, the more adaptable it will be.

Simplicity2 in Designing For The Future Web
Bottom up conceptualizing males sense. Concentrate on the basic elements and let the context evolve around them. Image: Andrei Bocan

Create your basic website structure first and add only your core styles, the ones that are applicable to all devices and layouts. Starting simple gives us a great base on which to build. Essentially, we are starting from the most basic experience, available on even the smallest mobile device, and working our way up to the more capable desktop browsers.

Using @media queries in the CSS will enable your website to recognize the additional capabilities of desktop browsers and scale up for these environments, presenting a fuller and more interactive experience where possible.

A word of caution and a reason why we don’t work the other way around by degrading a desktop website to a mobile one: @media queries are not supported by every mobile device. Rachel Andrews provides a good overview of @media queries here on Smashing Magazine, albeit working from desktop to mobile, rather than the other way round.

Forget About Proprietary

Whatever you do, stay away from the proprietary technologies, because that’s the one way to guarantee an inconsistent experience. Flash and Silverlight as development platforms are living on borrowed time. Microsoft has already indicated that it will discontinue Silverlight development to concentrate on HTML5, while Flash is being used mainly as a game development platform and video-delivery mechanism. If we are going to create truly cross-platform websites that display consistently across all devices, then Flash and Silverlight are not wise choices because we cannot be certain that they will be installed on the user’s device. Not to say that Flash doesn’t have its place; as a platform for Web-based games, it is currently unrivalled. It’s about choosing the best technologies for the job at hand.

Be Wary of JavaScript… for the Time Being

The bad news is that we may have to sacrifice some of the things we take for granted now. We must learn to design for unknown screen sizes and ratios and allow content to flow as required. Think less about design structure and page layout and more about content structure.

We may have to forgo using JavaScript and AJAX (both staples of desktop development) to create more involving user experiences, because some lower-end devices will not have the hardware muscle to deal with complex libraries. Trimming page weight will also be a priority because we cannot be certain that end users will have broadband-speed access to the Internet, so large libraries will be unacceptable overhead.

This is particularly important in light of the recent “hash bang� trend, started with Gawker Media’s controversial redesign of its websites. The websites (including Gizmodo, Lifehacker and Gawker) present a more application-like experience to users, but do so by relying on JavaScript for content delivery. In effect, the websites consist of a single page that is loaded with dynamic content on request, instead of the multiple pages that they consisted of previously. Any users whose browsers cannot process the JavaScript, for whatever reason, will be unable to browse the website; they are greeted with only a blank page.

However, a number of libraries are being developed to be lightweight and usable on portable devices. jQuery has an alpha of its mobile library available for testing. The project has the backing of industry players such as BlackBerry, Mozilla and Adobe, so it is worth keeping an eye on.

JavaScript support will mature as devices worldwide move onto more modern platforms and as older devices are taken out of service. But for the time being, a conservative approach to its use will mean a wider potential audience for your work.

Test, Test, Then Test Again

On the portable Web, there’s a good chance we won’t be able to test against every possible platform on which our content will be viewed. But that doesn’t take away the need to test. And test we must.

Opera-Mini-Simulator1 in Designing For The Future Web
Opera Mini’s emulator lets you test your website in a virtual browser.

Buying a device from each platform would be prohibitive for the majority of designers. But alternatives are available. For most of the main platforms, device emulators are available that simulate the browsing experience. See the resources section at the end of this article for links.

At the other end of the scale, a paid service is available from DeviceAnywhere, which enables you to test your website on over 2000 handsets.

Unfortunately, there are no Internet TV emulators so far, but Google has released a guide to designing for Google TV.

Finally, of course, we mustn’t forget to test on our desktop browsers, too. The aim of designing for the portable Web is to create a single experience across as wide a set of devices as possible. Just because users are able to browse the Web in many ways doesn’t mean they will stop using their desktop, laptop or netbook. Use this to your advantage when testing simply by resizing your browser to ensure that your design scales and flows appropriately. The emulators will provide you with an exact rendering of your website on other devices.

The Ugly Duckling?

So, does the portable Web defy beauty and kick sand in the face of outstanding design? Of course not. Great design is not only about visual imagery, but about presenting information clearly, which involves hierarchy and importance through innovative and well-thought out typography, layouts and navigation. Which brings us to…

Content For The Portable Web

Content is once again king. The rise of Quora should be enough to convince anyone of that; it is a service based solely on content. On the portable Web, this is doubly true. By paring down the design elements, you leave even more focus on the content.

Understand What’s Important

Identifying what is most critical to users should be your first task when developing a portable website. There may not be room for complex navigation, especially on smaller screens, so keep it simple. Compare the mobile and desktop versions of YouTube’s start page:

YouTube-Desktop in Designing For The Future Web
YouTube’s standard home page.

YouTube-Mobile1 in Designing For The Future Web
YouTube’s HTML5-based home page works brilliantly on small screens.

Create a Solid Information Hierarchy

Structuring our content is important, for both readability and SEO. Understanding the content that we are presenting is essential to creating clear information hierarchies that guide users through it.

Map the user’s possible journeys through your content. There should be a clear route to every piece of content, starting with the top-level information categories and getting more granular with each click.

John-Lewis-Mobile-Screens in Designing For The Future Web
John Lewis’ mobile website has a clear information hierarchy to aid navigation.

A good example of this is the mobile website of John Lewis, a UK-based department store. From the home page, you can easily drill down to each department, and from there to individual products. It’s simple, and it also means that the amount of information on any given page is not overwhelming and that you know exactly where you are in the hierarchy at all times.

Keep Content Available

Even if users aren’t on a desktop, don’t treat them as second-class citizens. Provide as much content as is feasible. And for what content there is, present it appropriately. Remove the following:

  • Superfluous images
    If an image isn’t essential to the content, get rid of it.
  • Unsupported file formats
    Don’t include Flash or even the Flash placeholder if the file likely can’t be played.
  • Unnecessary text
    Good desktop copy doesn’t necessarily make for good portable copy. Is that second customer testimonial absolutely necessary? If not, remove it.

While we want to remove unnecessary content, we don’t want to remove too much. In the example below, we have a simple accessible website, but one that has no depth. The first level of information is presented well, but the headings for the company’s services at the bottom of the page should link to the next level of information. The way it is, if I want to find out more, I’m forced to visit the non-optimized website. This is a poor user experience, because it makes finding what I need more difficult.

Photo1 in Designing For The Future Web
Sapient Nitro’s mobile website displays really well but cuts a lot of information from the full website.

Integration And The Portable Web

If services are to become the new hub of the Internet, keeping our websites linked to these services becomes paramount.

Keep It Modular

Services will come and go (although the main ones will certainly remain for a long time yet… yes, I’m looking at you, Facebook), so keep your design modular. Being able to integrate with new services as they come online and to prune away those that have fallen by the wayside will ensure that your content is available to the widest possible audience.

The goal is to make it easy to push your content across multiple services and thus integrate your content into the fabric of the Web. Primarily, this will be through search engine optimization and social sharing.

Make Your Content Search-Engine Friendly

While the way people access content is becoming more social and less search-based, search engines are still a massive source of traffic. Keeping your content formatted for easy retrieval is a must. Quora has done this extremely well, leading to high rankings across the major search engines and generating traffic for its next-generation Q&A service. SEO may be old hat for some, but as quality of content becomes increasingly important, it will gain new life.

Quora-SEO-results-e1297191282742 in Designing For The Future Web
Quora plays nice with search engines, with great results.

Make Sharing Easy

SEO is important, but so are direct connections to other services through OAuth, OpenGraph and OpenID. If this isn’t an option for you, then at the very least give users some way to share your content. Services like AddThis and ShareThis make it simple to add sharing capabilities; take advantage of them. A single tweet can generate a lot of activity. Of course, modern development and content platforms such as WordPress have this functionality built in.

Bringing these three elements together will create websites that are discoverable, consistent and usable. Just one question now is raising its ugly head…

What About Apps? Aren’t They The Way Forward?

Apples-app-store-icon-o-150x150 in Designing For The Future Web Apps are big business. Gartner forecasts that mobile app store revenue will top $15 billion in 2011. It’s no surprise that Google, Microsoft, Nokia and others are trying to get in on the act. But just because app stores are commercially successful, does it mean they should be our first point of call when designing for the future Web?

Let’s look at why one might want to create an app:

  • Easy to purchase, install, use and throw away
    Apps are so usable that even your granny could use them. Installing them on a smartphone is a smooth process that requires minimal involvement from the user. And when you’ve had enough, you simply delete it and no trace of the app remains. This is a great user experience, period. That’s why Apple is now pushing the same concept for full-blown Mac apps through the Mac App Store. Apps also provide, in most cases, a good user experience, with their native controls and design patterns.
  • Brand association and lock-in
    Apps are designed to do one thing and do it well. The most successful apps are exercises in brand association: “I want to search the Web, so I’ll use the Google app,� or “I want to check up on my friends, so I’ll use the Facebook app.� You experience the brand through the app. I could easily use the Safari browser on the iPhone to access both Facebook and Google, but the apps make it easy for me. I’m locked into the experience, which is great for the companies because their brands get planted square in the middle of my home screen; in this case, a big F and a big G.
  • Money
    The most attractive thing about apps to many companies is the profit. Apple’s App Store has shown that monetizing content is possible. Even for independent developers, making a lot of money in a relatively short period of time is possible.

What’s remarkable about all of these points is that they have nothing to do with information consumption. They are all about brand and user experience. However, there are also reasons why you should think twice:

  • Apps are information silos:
    Apps do what they do well. But they don’t do a good job of bringing in the wider Web. Want to follow a link? You might be able to view the page in app, but you’re just as likely to get thrown out into the browser. That’s not a good user experience. You also lose control of the user’s actions and their focus on your content.
  • Apps are platform-specific:
    Writing an app automatically ties you to the platform you are writing it for. This immediately limits your potential audience. Smartphone penetration is growing but is still a small segment of the overall Internet-enabled phone market. To take the US market as an example, even though 31% of the population have smartphones, only 6% of the population have iPhones. That’s 19 million out 307 million. If you released an iOS-only app in the US, you would immediately lose 76.17 million potential users.
  • Apps work best for big brands and services:
    Regardless of how good the app is, you have to find a way to get it discovered among the tidal wave of apps that are released into app stores every day. Big brands can push their apps through their existing Web presence, but that’s a lot more difficult for smaller brands. And unless you can generate a lot of relevant content regularly, as the major services do, your app will be consigned to the trash very quickly. Research by Pinch Media (now Flurry) shows that free apps are used primarily in the first 10 days following installation, and then rapidly trail off to around 2% of the installation base after 70 days. Paid application usage drops off even more quickly.
  • Mobile users prefer browsers over apps:
    A study by Keynote Systems in October 2010 shows that users prefer mobile websites for nearly all types of Web content. The only categories in which apps came out on top were social networking, music and games, which makes sense because these apps usually take full advantage of a native platform’s capabilities.

So, if we want to create something with more permanence, that can evolve at a speed that suits us and our clients, then we need to look away from mobile apps and towards the mobile Web. We must execute good design, thoughtful content and solid integration to tie our portable websites into the social infrastructure of the Web.

Conclusion

The fully portable Web may not be here right now, but it will be before we know it. As it was with the browser wars, developers and designers must re-educate themselves to become the driving force behind these changes and be brave enough to let go of current design thinking and work to set new standards. Understanding how to create online presences that take full advantage of all platforms and preparing for the future shape of the Web will position us not just as technicians, but as people who can provide real value to our clients.

Resources

The HTML5 editors and device emulators mentioned above can be downloaded from the following websites.

HTML5 development environments:

Device emulators:

(al) (ik)


© James Gardner for Smashing Magazine, 2011. | Permalink | Post a comment | Smashing Shop | Smashing Network | About Us
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A Crash Course in Typography: The Basics of Type

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 in A Crash Course in Typography: The Basics of Type  in A Crash Course in Typography: The Basics of Type  in A Crash Course in Typography: The Basics of Type

Typography could be considered the most important part of any design. It’s definitely among the most important elements of any design project. And yet it’s often the part of a design that’s left for last, or barely considered at all. Designers are often intimidated by typography, which can result in bland typographical design or a designer always using one or two “reliable” typefaces in their designs.


This series aims to change that. If you’re intimidated by typography, or even just aren’t quite sure where to start, then read on. We’ll break down typographic theory and practice, starting with the basics (so that everyone starts on the same page).

In this part, we’ll talk about the basics of typographic theory, including the different kinds of typefaces (and how typefaces and fonts differ), as well as the basic anatomy of a typeface. And each part will also offer more resources for delving deeper into typography.

1-heightsandlines in A Crash Course in Typography: The Basics of Type

Typefaces vs. Fonts: Difference?

A lot of people use the terms “typeface” and “font” interchangeably. But they’re two very distinct things. Before we get started talking about typography, let’s get our terms straight.

A typeface is a set of typographical symbols and characters. It’s the letters, numbers, and other characters that let us put words on paper (or screen). A font, on the other hand, is traditionally defined as a complete character set within a typeface, often of a particular size and style. Fonts are also specific computer files that contain all the characters and glyphs within a typeface.

When most of us talk about “fonts”, we’re really talking about typefaces, or type families (which are groups of typefaces with related designs).

Classifying Type

There are a number of different ways to classify typefaces and type families. The most common classifications are by technical style: serif, sans-serif, script, display, and so on. Typefaces are also classified by other technical specifications, such as proportional vs. monospaced, or by more fluid and interpretational definitions, such as the mood they create.

Serif

Serif typefaces are called “serifs” in reference to the small lines that are attached to the main strokes of characters within the face. Serif typefaces are most often used for body copy in print documents, as well as for both body text and headlines online. The readability of serifs online has been debated, and some designers prefer not to use serifs for large blocks of copy.

1-serif in A Crash Course in Typography: The Basics of Type

Within the serif classification, there are many sub-types. Old Style serifs (also called humanist) are the oldest typefaces in this classification, dating back to the mid 1400s. The main characteristic of old style characters is their diagonal stress (the thinnest parts of the letters appear on the angled strokes, rather than the vertical or horizontal ones). Typefaces in this category include Adobe Jenson, Centaur, and Goudy Old Style.

1-oldstyleserif in A Crash Course in Typography: The Basics of Type

Transitional serifs date back to the mid 1700s, and are generally the most common serif typefaces. Times New Roman and Baskerville are both transitional serifs, as are Caslon, Georgia, and Bookman. The differences between thick and thin strokes in transitional typefaces are more pronounced than they are in old style serifs, but less so than in modern serifs.

1-transitionalserif in A Crash Course in Typography: The Basics of Type

Modern serifs, which include typefaces like Didot and Bodoni, have a much more pronounced contrast between thin and thick lines, and have have a vertical stress and minimal brackets. They date back to the late 1700s.

1-modernserif in A Crash Course in Typography: The Basics of Type

The final main type of serif typeface is the slab serif. Slab serifs have little to no contrast between thick and thin lines, and have thick, rectangular serifs, and sometimes have fixed widths. The underlying characters hapes often more closely resemble sans serif fonts.

1-slabserif in A Crash Course in Typography: The Basics of Type

Sans-Serif

Sans-serif typefaces are called such because they lack serif details on characters. Sans-serif typefaces are often more modern in appearance than serifs. The first sans-serifs were created in the late 18th century.

1-sansserif in A Crash Course in Typography: The Basics of Type

There are four basic classifications of sans-serif typefaces: Grotesque, Neo-grotesque, Humanist, and Geometric. Grotesques are the earliest, and include fonts like Franklin Gothic and Akzidenze Grotesk. These typefaces often have letterforms that are very similar to serif typefaces, minus the serifs.

1-grotesquesansserif in A Crash Course in Typography: The Basics of Type

Neo-grotesque typefaces include some of the most common typefaces: MS Sans Serif, Arial, Helvetica and Univers are all neo-grotesques. They have a relatively plain appearance when compared to the grotesques.

1-neogrotesquesansserif in A Crash Course in Typography: The Basics of Type

Humanist typefaces include Gill Sans, Frutiger, Tahoma, Verdana, Optima, and Lucide Grande. These are more calligraphic than other sans-serif typefaces, and are also the most legible (hence the popularity of some of them for website body copy). They’re more calligraphic than other sans-serifs, meaning they have a greater variation in line widths.

1-humanistsansserif in A Crash Course in Typography: The Basics of Type

Geometric sans-serifs are more closely based on geometric shapes. Generally, the “O”s in geometrics will appear circular, and the letter “a” is almost always simple, just a circle with a tail. They’re the least commonly-used for body copy, and are also the most modern sans-serifs, as a general rule.

1-geometricsansserif in A Crash Course in Typography: The Basics of Type

Script

Scripts are based upon handwriting, and offer very fluid letterforms. There are two basic classifications: formal and casual. Formal scripts are often reminiscent of the handwritten letterforms common in the 17th and 18th centuries. Some scripts are based directly on the handwriting of masters like George Snell and George Bickham. There are modern creations, too, including Kuenstler Script. They’re common for very elegant and elevated typographical designs, and are unsuitable for body copy.

1-formalscript in A Crash Course in Typography: The Basics of Type

Casual scripts more closely resemble modern handwriting, and date back to the mid-twentieth century. They’re much less formal, often with stronger strokes and a more brush-like appearance. Casual scripts include Mistral and Brush Script.

1-casualscript in A Crash Course in Typography: The Basics of Type

Display

Display typefaces are probably the broadest category and include the most variation. The main characteristic is that they’re unsuitable for body copy and are best reserved for headlines or other short copy that needs attention drawn to it. Display typefaces can be formal, or informal, and evoke any kind of mood. They’re more commonly seen in print design, but are becoming more popular online with the use of web fonts.

Also included among display typefaces are blackletter typefaces, which were the original typefaces used with the first printing presses. Since that time, better, more readable fonts have been developed.

1-display in A Crash Course in Typography: The Basics of Type

Dingbats and Specialty Typefaces

Dingbats are specialty typefaces that consist of symbols and ornaments instead of letters. Wingdings is probably the best-known dingbat font, though there are now thousands, often created around themes.

1-dingbats in A Crash Course in Typography: The Basics of Type

The typeface above is Jellodings.

Proportional vs. Monospaced

In proportional typefaces, the space a character takes up is dependent on the natural width of that character. An “i” takes up less space than an “m”, for example. Times New Roman is a proportional typeface. In monospace typefaces, on the other hand, each character takes up the same amount of space. Narrower characters simply get a bit more spacing around them to make up for the difference in width. Courier New is one example of a monospace typeface.

1-proportionalvsmonospaced in A Crash Course in Typography: The Basics of Type

Mood

The mood of a typeface is an important part of how it should be used. Different typefaces have strikingly different moods. Commonly used moods include formal vs. informal, modern vs classic/traditional, and light vs dramatic. Some typefaces have very distinct moods. For example, Times New Roman is pretty much always going to be a traditional font, which is why it’s so commonly used for business correspondence. Verdana, on the other hand, has a more modern mood.

Some typefaces are more transcendent, and can convey almost any mood based on the content and the other typefaces they’re combined with. Helvetica is often considered one such font.

1-mood in A Crash Course in Typography: The Basics of Type

Weights & Styles

Within the majority of typefaces, you’ll find more than one style and/or weight. Weights are often classified as “light”, “thin”, “regular”, “medium”, “bold”, “heavy”, or “black”. Each of these refers to the thickness of the strokes that make up the characters:

1-weights in A Crash Course in Typography: The Basics of Type

There are three general styles you’ll find with many typefaces: italic, oblique, and small caps. Small caps are often used for headings or subheadings, to add variety to your typography if using a single typeface.

Italic and oblique are often confused or used interchangeably, but are two distinct styles. Oblique type is simply a slanted version of the regular characters. You could create this using the “distort” function in Photoshop, although sometimes a separate oblique font is included within a typeface. Italics are slanted like obliques, but are actually a separate set of characters, with their own unique letterforms.

1-styles in A Crash Course in Typography: The Basics of Type

The Anatomy of a Typeface

The different letterforms within a typeface share a few common characteristics. These characteristics can be important in determining whether two (or more) typefaces work well together, or clash. Here are the most basic parts of a typeface:

1-heightsandlines in A Crash Course in Typography: The Basics of Type

The above image shows the different guidelines that are generally present in a typeface. The baseline is the invisible line that all the characters sit on. Rounded letters sometimes sit just a tiny bit under the baseline, and descenders always drop below this line. A given typeface will have a consistent baseline.

The meanline is the height of most of the lowercase characters within a typeface, and is generally based on the lowercase “x” if there are varying heights among the lowercase characters. This is also where the term “x-height” comes from. The cap height is the distance between the baseline and the top of uppercase letters like “A”.

1-stembarbowl in A Crash Course in Typography: The Basics of Type

The above illustration shows three common parts to letterforms. The stem is the main upright of any letter, including the primary diagonal. It’s could be considered the anchor of the character. The bar is any horizontal part, which are sometimes also called arms. The bowl is the curved part of a character that creates an interior empty space. The inside of a bowl is a counter.

1-ascenderdescender in A Crash Course in Typography: The Basics of Type

The ascender of a lowercase character is any part that rises above the meanline, such as the uprights on the letters “d”, “h”, and “b”. Descenders are the parts of a lowercase character that drop below the baseline, such as in a “p”, “q” or “g”.

1-serifs in A Crash Course in Typography: The Basics of Type

Serifs are the extra flourish at the end of a stroke on serif typefaces. Some typefaces have very pronounced serifs, while others are barely distinguishable.

1-apertureearhairline in A Crash Course in Typography: The Basics of Type

The aperture of a character refers to the opening at the bottom of some characters, such as the uppercase “A” or lowercase “m”. An ear is a decorative extension on a letter, as highlighted on the “g” above. Hairlines are the thinnest part of a serif typeface.

1-crossbarterminalloop in A Crash Course in Typography: The Basics of Type

Crossbars are horizontal strokes, as found on the uppercase “A” and “H”. Terminals are only found on serif characters, and are the end of any line that doesn’t have a serif. Loops are found on some lowercase “g” characters, and can be fully closed or partially closed.

1-spurlinkspine in A Crash Course in Typography: The Basics of Type

Spurs are tiny projections from curved strokes, such as on some uppercase “G” characters. Links connect the top and bottom bowls of a double-stacked lowercase “g”. The spine is the curved stroke found on the letter “s”.

1-tailfinialshoulder in A Crash Course in Typography: The Basics of Type

Tails are sometimes-decorative descending strokes, as seen on an uppercase “R”. Finials are the tapered endings of some strokes. Shoulders are any curved stroke that originate from a stem.

In Part 2…

Next Monday we’ll discuss paragraph composition and using special typographic characters, like ligatures and hyphens. We’ll dive right into basic typographic layouts, and how to decide on a typeface for your project. Stay tuned!

Additional Resources

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Architecture Sources of Inspiration

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Architecture surrounds us everyday, and because of that we sometimes overlook it as a potential source of inspiration. But architecture and interior design can inspire us for virtually any project. There are dozens of architectural styles out there, both formal and informal, to appeal to almost every taste.

We’ve rounded up more than forty great resources for you that should make finding inspiration in architecture child’s play. If you don’t feel like looking at your local architecture for inspiration or simply don’t have the time, turn to one of these sources instead!

Flickr Groups

There are literally hundreds of Flickr groups dedicated to architecture and interior design. And as it is with all Flickr groups, some are of higher quality than others. Below are ten of the more interesting Flickr groups dedicated to architecture and/or interior design.

Holga Architecture

The images featured in this group were taken with Holga (or Holga-style) cameras, resulting in a very interesting visual style that adds to the inspirational nature of the subjects.

Holga-Architecture2 in Architecture Sources of Inspiration

! Interior Design & Architecture

The ! Interior Design & Architecture Flickr group is one of the more diverse architecture groups on Flickr. The group’s pool has over 10,000 photos, including everything from interior and exterior shots of homes to design sketches and photos of churches and other public buildings.

Interior-design-architecture2 in Architecture Sources of Inspiration

Sydney Architecture

The Sydney Architecture group includes more than 4,000 images of the city of Sydney, Australia. Both interior and exterior spaces are included.
Flickr-Sydney-Architecture2 in Architecture Sources of Inspiration

Architecture (Clean Shots)

This is another diverse group that showcases architecture from around the world, with a definite focus on exterior shots. Virtually every style is included, from Classical to Modern, in the more than 15,000 photos in the group.

The-Architecture-Pool2 in Architecture Sources of Inspiration

1950s Interior Design and Residential Architecture

If you’re inspired by mid-century modern and other styles common on the ’50s, this is the group for you. Images include both authentic photos and sketches from the era as well as more modern images of 50s style.

1950s-Interior-Design1 in Architecture Sources of Inspiration

Cinema Architecture

The Cinema Architecture group on Flickr showcases theater and cinema architecture from around the world. There are currently over 12,000 photos included.

Cinema-architecture1 in Architecture Sources of Inspiration

Victorian Interior Design and Residential Architecture

This Flickr group focuses on the design of Victorian-era homes, with images of everything from entire houses to architectural details.

Vicotrianhouselovers1 in Architecture Sources of Inspiration

Details of Modern Architecture

The Details of Modern Architecture group includes more than 36,000 close-up images of modern architecture details.

Details-of-Modern-Architecture1 in Architecture Sources of Inspiration

Architecture – Rationalism

The Architecture – Rationalism group features more than 1400 images of rationalist architecture, including both photos and sketches.

Architecture-Rationalism1 in Architecture Sources of Inspiration

Brutalist Architecture

This group showcases brutalist architecture from around the world. Brutalism was a direct response to the early modernists that focused largely on smooth white walls; brutalist structures focused on architectural honesty and exposing the raw materials a building was constructed with.

Brutalist-Architecture1 in Architecture Sources of Inspiration

Architecture & Interior Design Blogs

There are thousands of architecture and interior design blogs online. Some focus on general architecture with a wide variety of styles, while others serve very specific niches. What the best ones all have in common, though, are the beautiful images and perspectives they serve up on a regular basis. Perfect for finding inspiration.

Desire to Inspire

Desire to Inspire covers largely interior design. They include mid-century modern, eclectic, modern and some traditional designs, with plenty of images in every post. Their alphabetically ordered blogroll provides you with many additional sources, should you need them.

Desiretoinspire in Architecture Sources of Inspiration

Velvet & Linen

Velvet & Linen is the blog of Giannetti Home, an interior design firm based in Los Angeles. Their blog covers high-end interior design, often with a focus on antiques beautifully presented in high resolution photography. Be sure to check out their extensive blogroll for more architecture and interior design sites.

Velvetandlinen in Architecture Sources of Inspiration

Materialicious

Materialicious aggregates content from a variety of other blogs and focuses on both architecture and interior design, with occasional features on other areas of design. Recent posts have included the 100th anniversary of Alfa Romeo, paper shoes, technology in spas, and the H2ome Yachting Villa. Be prepared to recieve multiple inspirational thrusts a day.

Materialicious in Architecture Sources of Inspiration

CubeMe

CubeMe is a blog focused entirely on modern architecture and design. They cover furniture, residential and commercial architecture, home accessories, artwork, and more. Exceptional curiosities make the site worth a regular visit.

Cubeme in Architecture Sources of Inspiration

Design Milk

Design Milk covers art, architecture, interior design, and more, with a decidedly modern slant. They also have features on technology, fashion and style.

Designmilk in Architecture Sources of Inspiration

Inhabitat

Inhabitat covers green architecture and related products and technology. They often feature some of the most extreme green and sustainable architectural concepts out there. The majority of their posts come with tons of photos and images, perfect for inspiration.

Inhabitat in Architecture Sources of Inspiration

DigsDigs

DigsDigs showcases mostly interior design, with a focus on products, though they also feature plenty of photo posts showing interior and exterior spaces. A regular feature shows off small space interiors, mostly apartments. Get ready to discover some really astounding ideas.

Digsdigs in Architecture Sources of Inspiration

Archinect

Archinect includes feature articles, image galleries, discussions and other architecture-related content. They cover both interior and exterior design, as well as products and interviews with prominent people in the industry. Those interested in more might want to check out the site’s literature section.

Archinect in Architecture Sources of Inspiration

A Daily Dose of Architecture

A Daily Dose of Architecture showcases beautiful buildings from around the world. The focus here is definitely on exteriors, though they occasionally feature other content.

A-daily-dose-of-architecture in Architecture Sources of Inspiration

BLDGBLOG

BLDGBLOG got it’s start back in 2004. They showcase architecture as well as interesting projects and products related to interior and exterior design (like “The Migration of Mel and Judith”, an entire narrative told on the inside of a lamp shade).

Bldgblog in Architecture Sources of Inspiration

Apartment Therapy

Apartment Therapy showcases the best in small-space living, mostly focusing on interior design. They cover products, design concepts, and room designs, and occasionally feature video content.

Apartmenttherapy in Architecture Sources of Inspiration

Design*Sponge

Design*Sponge focuses largely on interior design, with a definite focus on more handcrafted items and designs, though still with a modern flair. Each post is filled with inspiring images, often of interiors that juxtapose unexpected elements.

Designsponge in Architecture Sources of Inspiration

Design Observer

Design Observer features all areas of design and culture. They regularly feature architecture and interior design, including their regular “Accidental Mysteries” feature, which showcases oddities on a weekly basis.

Designobserver in Architecture Sources of Inspiration

Modern Architecture & Design News

Modern Architecture & Design News showcases the best new modern design from around the world. Their posts are filled with images to inspire, and they post new content a couple times each day.

Modernarchdesignnews in Architecture Sources of Inspiration

Earth Architecture

Earth Architecture covers buildings created from natural, earth-based materials from all over the world. According to the site, “One half of the world’s population, approximately 3 billion people on six continents, lives or works in buildings constructed of earth.”

Eartharchitecture in Architecture Sources of Inspiration

Contemporist

Contemporist covers architecture, furniture, interiors and other design-related topics. As the name suggests, the focus is primarily on contemporary and modern designs.

Contemporist in Architecture Sources of Inspiration

Tumblr Blogs

Tumblr often has some of the most forward-thinking blogs (or tumblogs) out there on any given topic, and architecture is no different. There are literally hundreds of fantastic architecture and interior design Tumblr blogs. Often there’s little commentary associated with posts, just beautiful image after beautiful image. Here are some of the best:

Picture Perfect Home

Picture Perfect Home showcases both interior and exterior design, with no real with no real style theme other than the fact the homes featured are beautiful.

Pictureperfecthome in Architecture Sources of Inspiration

Harmony in Design

Harmony in Design showcases a variety of interior and exterior images, mostly with a traditional style, though there are some modern gems interspersed.

Harmonyindesign in Architecture Sources of Inspiration

My Little House

My Little House showcases mostly interiors, and as the name suggests, small spaces.

Mylittlehouse in Architecture Sources of Inspiration

Architizer

Architizer features some of the most interesting modern and conceptual architecture out there, with a focus on buildings that break traditional boundaries.

Architizer in Architecture Sources of Inspiration

Simplypi

Simplypi offers daily posts on architecture, arts, design, product design, and more, though there seems to be a definite slant toward architectural images.

Simplypi in Architecture Sources of Inspiration

Architectural Models

Architectural Models showcases amazing models of architecture in a variety of styles and materials. It’s a departure from more traditional architecture blogs, which adds even more potential for inspiration.

Architecturalmodels in Architecture Sources of Inspiration

Architectural Inspiration

This Tumblr blog showcases interior and exterior photos, as well as detial shots of particular architectural details. A wide variety of architectural styles are included.

Architectureinspiration in Architecture Sources of Inspiration

Cabbage Rose

With a name like Cabbage Rose, you’d probably expect a blog focusing on “Shabby Chic” or similar country interiors. But you won’t find that here: this Cabbage Rose focuses on mostly modern and eclectic interiors.

Cabbagerose in Architecture Sources of Inspiration

The Architecture Blog

The Architecture Blog showcases residential and commercial architecture, with both interior and exterior shots. Most of the buildings featured are modern, though there are a few more traditional images.

Thearchitectureblog in Architecture Sources of Inspiration

Loftylovin

Loftylovin showcases open-plan living spaces from around the world, including both modern and more traditional interiors.

Loftylovin in Architecture Sources of Inspiration

Interior Decline

Interior Decline showcases beautiful interiors. There are a variety of styles included, though they all have one thing in common: luxury.

Interiordecline in Architecture Sources of Inspiration

Baan

Baan, which means house or home in Thai, features gorgeous interiors and designs from around the world. There’s a definite organic feel to most of what they feature, though the styles are eclectic.

Baan in Architecture Sources of Inspiration

Home Sweet Home

A huge variety of styles are featured on the Home Sweet Home tumblog. Images include interiors and exteriors, most of which have a very “homey” feel to them, as would be expected by the title.

Homesweethome in Architecture Sources of Inspiration

My Ideal Home

My Ideal Home features a variety of home styles, with both interior and exterior photos. Many of the images are light and airy, and there seems to be an abundance of interiors in mostly white.
Myidealhome in Architecture Sources of Inspiration

Nice*Room

Nice*Room shows off interior images, most of which are fairly traditional and casual.

Niceroom in Architecture Sources of Inspiration

If you have any other favorite architecture inspiration resources, please share them in the comment section below!

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Photo Retouching Tips And Tricks In Photoshop

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Two weeks ago we published the first part of Photoshop tips and tricks for photo retouching. Today, we’ll be presenting the rest of the article. We hope that these techniques will be quite useful for your workflow. You may know some of them, but hopefully not all of them. We have had articles on various tools in Adobe Photoshop but this one is focused more on the techniques rather than the tools provided. Please note that all images used in this article were purchased and are used according to their licenses.

Here is a short overview of the techniques we’ll be covering in this follow-up:

Defining Colors

If you want to redefine the foreground and background colors, use the Eyedropper tool to select the foreground color, and then switch the position with the background color, maybe by using the shortcut X, and pick up the next color. But there is an easier way. First, define the foreground color just as you’re accustomed to, but then define the background color by holding the Alt/Option key. Instead of changing the foreground color, you’ll redefine the background color with just one click.

30-tips-and-tricks22 in Photo Retouching Tips And Tricks In Photoshop
Define foreground and background colors.

Controlling Folders

Folders give structure to layers, which is especially important if you’re working on demanding compositions. Folders are often collapsed, so you can’t see the contents at first sight. This conserves space but it’s not always desirable. If you want nested layers to reveal their contents and offer a quick overview, hold the Control/Command key and click on one of the triangles to expand. All folders at the first level will expand. You can collapse them again using the same trick. To expand all nested folders inside the folders as well, hold the Alt/Option key as well as the Control/Command key.

30-tips-and-tricks25 in Photo Retouching Tips And Tricks In Photoshop
Hold the Control/Command key to expand the folder.

Split-Toning Effect

Create two new gradient maps via Layer → New Adjustment Layer → Gradient Map. You could, for example, create a gradient from dark-blue to beige and another from dark-brown to white. To change a gradient, click on it to open up the “Gradient Editorâ€� dialog box. There, click on your chosen color patches and open up the color picker via the “Color field.â€�

30-tips-and-tricks17a in Photo Retouching Tips And Tricks In Photoshop
Blending Options: This Layer

Confirm with “OK,� double-click the layer with the second gradient map and, under “This Layer,� move the right slider to the left. To make the transition a little smoother, click on the slider while holding down the Alt/Option key and move it to the right. Confirm with “OK.�

30-tips-and-tricks17b in Photo Retouching Tips And Tricks In Photoshop
Split-Toning Effect

Flexible Vignette

To create a non-destructive vignette, go to New Adjustment Layer → Levels. Darken the image completely by, for example, setting the Highlights down to 80. Now use the Brush tool with black color to paint the light center into the layer mask. Instead of using a brush to paint the area, you could use the Elliptical Marquee tool and fill the selection with black.

30-tips-and-tricks16a in Photo Retouching Tips And Tricks In Photoshop
Adjustment Layer: Levels

You can use the Move tool to adjust the vignette’s position any time, or blur it using the “Gaussian Blur.� You can also increase or decrease the darkening. To do so, open the Levels Adjustment dialog box again.

Skin Retouching In Camera Raw

Again, open a photo in Camera Raw (for example, by using the right mouse key from Bridge and clicking “Open in Camera Raw�). In general, you can use the Spot Healing Brush tool and all other tools and sliders to improve the image. When you’re happy with it, hold the Shift key and click on “Open Object.� The image will be put on a new layer as a Smart Object.

You could also click the blue link at the bottom of the screen, which opens the “Workflow Options� dialog window. From there, you can control some other settings as well. Make sure to check the “Open in Photoshop as Smart Object� checkbox, and then confirm with “OK� to open the images (without having to holding Shift).

30-tips-and-tricks4a in Photo Retouching Tips And Tricks In Photoshop
Here, layers are smart objects.

Right-click on the layer and choose “New Smart Object via Copy,� and then open the Camera Raw dialog box again by double-clicking the layer icon. Set the “Clarity� value to -100 and confirm with “OK.� Hold the Alt/Option key and click on the “Create Layer Mask� button, then use a soft brush to paint over the optimized skin. Use the opacity slider to control the amount of retouching.

30-tips-and-tricks4b in Photo Retouching Tips And Tricks In Photoshop
Here is optimized skin with the help of Camera Raw.

Setting Lights

If you want to do some virtual re-positioning of your strobes, then neutralize the shot first. Go to Select → Color Range, and set Select option to “Highlights.â€� Copy the selection content to a new layer by hitting Control/Command + J. Activate the background layer again, and select the “Shadowsâ€� this time. Bring those to their own layer, too, with Control/Command + J, and then set the blending mode to “Screenâ€� and the highlights to “Multiply.â€�

30-tips-and-tricks13a in Photo Retouching Tips And Tricks In Photoshop
Highlights and shadows

Reduce the opacity to about 30%, depending on the image content. “Shadows/Highlights� might also help. On a new layer, filled with a neutral gray and its blending mode set to “Overlay,� paint in the desired light quality with the Dodge and Burn tools. Alternatively, add a new layer and set its blending mode to “Soft Light� or “Overlay� and, with a low opacity brush, paint black and white on this layer.

30-tips-and-tricks13b in Photo Retouching Tips And Tricks In Photoshop
The lights were neutralized a bit.

Distinguished Paleness

For a distinguished paleness, copy the background layer and set its blending mode to “Screen.â€� Use Image → Adjustments → Desaturate or “Black & White,â€� then “Shadows/Highlightsâ€� to increase the effect. The exact adjustment options can vary according to your image content.

30-tips-and-tricks2a in Photo Retouching Tips And Tricks In Photoshop
Here’s the layer after creating the mask.

The effect will cover the entire image unless you click on the “Create Layer Mask� button while holding the Alt/Option key, and then paint the pale areas with the brush tool and white color. You can control the effect’s strength with the opacity slider.

30-tips-and-tricks2b in Photo Retouching Tips And Tricks In Photoshop
Distinguished paleness.

Dodge And Burn Look

Copy the reduced layers to a new layer with Shift + Control/Command + Alt/Option + E, and then set the blending mode to “Vivid Light.â€� Use Control/Command + I to invert the layer content, and apply Filter → Blur → Surface Blur with a radius of about 70 pixels and a threshold of 40 levels. Press Shift + Control/Command + Alt/Option + E again, delete the layer below, and set the blending mode to “Overlay.â€� Apply a “Gaussian Blurâ€� to make the contours a little softer, and then click Image → Adjustments → Desaturate.

30-tips-and-tricks9 in Photo Retouching Tips And Tricks In Photoshop
Dodge and Burn Look

Bright Eyes

To make eyes appear brilliant, click on New Adjustment Layer → Exposure. Fill the layer mask with black (or invert the mask), and paint with white over the irises and with black over the pupils. Set the blending mode of the adjustment layer to “Luminosity.â€� Increase the exposure in concert with the gamma value to give the iris structure more contrast. Also, try changing the “Offset slider.â€�

30-tips-and-tricks11 in Photo Retouching Tips And Tricks In Photoshop
Create beautiful eyes with exposure.

The Orton Effect

With the Orton effect, sharp and blurred versions of a photo are mixed together. Copy the background layer with Control/Command + J, and click on Image → Apply Image. Change the blending mode to “Screenâ€� and click “OK.â€� Copy the current layer again with Control/Command + J. Apply a Gaussian Blur to this copy by clicking Filter → Blur → Gaussian Blur. The value will depend on the size of the image. The shapes should always blur slightly. Set the blending mode for the layer to “Multiply.â€�

30-tips-and-tricks15 in Photo Retouching Tips And Tricks In Photoshop
The Orton effect creates contrast and depth.

Optimizing Lasso Selections

Many users (even professionals) prefer the Lasso Selection tool to the Path tool for uncomplicated selections. To switch to the Polygon Lasso tool for a short stretch, hold the Alt/Option key while working. To switch back to the regular Lasso tool, just release the Alt/Option key while depressing the mouse button.

30-tips-and-tricks28 in Photo Retouching Tips And Tricks In Photoshop
Switching between the Lasso and Polygon Lasso tools is easy.

It often happens that, during a zoom, you hit the edge of the work area while making a selection. Just keep the space bar pressed to switch to the Hand tool, and you can quickly change the displayed image section.

Aligning Layer Contents

Some areas in Photoshop are hardly ever noticed. This is one of them. If you activate the Move tool, you’ll see some mysterious symbols to the right called Align tools, in the option bar next to Auto-Select and the Transform controls (which are basically equivalent to Free Transform).

30-tips-and-tricks29 in Photo Retouching Tips And Tricks In Photoshop
Align tools

If you activate just one layer, the Align tools won’t do anything, but if you select two or more layers by holding the Control/Command key, then you can align the layer’s contents with these buttons. Choose from options such as “Align Top Edge� and “Align Vertical Center.�

Restoring Selections

Often, while in the middle of working on a tricky selection, you’ll accidentally deselect it by clicking once too often. You can restore the lost selection by pressing Shift + Control/Command + D. This will get the ants marching again. You can also undo (Control/Command + Z) the action, and even perform multiple undos with Control/Command + Alt/Option + Z.

By the way, you can hold the Alt/Option key to subtract elements from the selection at any time, or hold the Shift key to add to the selection. Pressing a combination of both keys creates a selection intersection. Important selections that you might need later can be saved by going to Select → Save Selection.

30-tips-and-tricks30 in Photo Retouching Tips And Tricks In Photoshop
Restore lost selections.

More Tips and Tricks to Improve Your Workflow:

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