Tag: kranthi

Your Content, Now Mobile

We are pleased to present you with this excerpt from Chapter 1 of Content Strategy for Mobile by Karen McGrane, now available from A Book Apart. —Ed.

When we talk about how to create products and services for mobile, the conversation tends to focus on design and development challenges. How does our design aesthetic change when we’re dealing with a smaller (or higher-resolution) screen? How do we employ (and teach) new gestural interactions that take advantage of touchscreen capabilities? How (and who) will write the code for all these different platforms—and how will we maintain all of them?

Great questions, every one. But focusing just on the design and development questions leaves out one important subject: how are we going to get our content to render appropriately on mobile devices?

The good news is that the answer to this question will help you, regardless of operating system, device capabilities, or screen resolution. If you take the time to figure out the right way to get your content out there, you’ll have the freedom (and the flexibility) to get it everywhere. You can go back to thinking about the right design and development approaches for each platform, because you’ll already have a reusable base of content to work from.

The bad news is that this isn’t a superficial problem. Solving it isn’t something you can do in isolation, by sandboxing off a subset of your content in a stripped-down mobile website or app. The solution requires you to look closely at your content management system, your editorial workflow, even your organizational structure. You may need different tools, different processes, different ways of communicating.

Don’t despair. There’s even better news at the end of this rainbow. By taking the time now to examine your content and structure it for maximum flexibility and reuse, you’ll be (better) prepared the next time a new gadget rolls around. You’ll have cleared out all the dead wood, by pruning outdated, badly written, and irrelevant content, which means all your users will have a better experience. You’ll have revised and updated your processes and tools for managing and maintaining content, which means all the content you create in every channel—print, desktop, mobile, TV, social—will be more closely governed.

Mobile is not the “lite” version

It looks like you're on a train. Would you like me to show you the insultingly simplified mobile site?

—Cennydd Bowles (http://bkaprt.com/csm/15)

If people want to do something on the internet, they will want to do it using their mobile device. Period.

The boundaries between “desktop tasks” and “mobile tasks” are fluid, driven as much by the device’s convenience as they are by the ease of the task. Have you ever tried to quickly look up a bit of information from your tablet, simply because you’re too lazy to walk over to your computer? Typed in a lengthy email on your BlackBerry while sitting at your desk, temporarily forgetting your keyboard exists? Discovered that the process to book a ticket from your mobile was easier than using the desktop (looking at you, Amtrak!) because all the extra clutter was stripped away?

Have you noticed that the device you choose for a given activity does not necessarily imply your context of use?

People use every device in every location, in every context. They use mobile handsets in restaurants and on the sofa. They use tablets with a focused determination in meetings and in a lazy Sunday morning haze in bed. They use laptops with fat pipes of employer-provided connectivity and with a thin trickle of data siphoned through expensive hotel Wi-Fi. They use desktop workstations on the beach—okay, they really only use traditional desktop machines at desks. You’ve got me on that one.

Knowing the type of device the user is holding doesn’t tell you anything about the user’s intent. Knowing someone’s location doesn’t tell you anything about her goals. You can’t make assumptions about what the user wants to do simply because she has a smaller screen. In fact, all you really know is: she has a smaller screen.

The immobile context

Users have always accessed our content from a variety of screen sizes and resolutions. Data reported by SecureCube shows that in January 2000, the majority of users visited from a browser with an 800×600 resolution, but a significant minority (twenty-nine percent) accessed the site at 1024×768 or higher, with a smaller percentage (eleven percent) viewing the site at 640×480 (http://bkaprt.com/csm/16; fig 1.1). At that time, decisions about how best to present content were seen as design challenges, and developers sought to provide a good reading experience for users at all resolutions, discussing appropriate ways to adjust column widths and screen layouts as content reflowed from smaller to larger screens.

Figure 1.1

Fig 1.1: We have plenty of experience delivering content to a variety of screen resolutions. Why do we assume that mobile screens necessarily indicate a different context?

What you didn’t hear designers talking about was the “640×480 context” and how it differed from the “1024×768 context.” No one tried to intuit which tasks would be more important to users browsing at 800×600, so less important options could be hidden from them. No one assumed that people’s mindset, tasks, and goals would be different, simply because they had a different-sized monitor.

Why do we assume that mobile is any different?

Mobile tasks, mobile content

I recently departed Austin, Texas, traveling with three friends. Since we arrived at the airport a bit early, I wanted to lounge in the comfort of the United Club, away from the teeming masses. I felt it would be rude to abandon my friends to a similar fate outside, and so I wanted to know how many guests I could bring with me to the club.

A simple Google search should clear up this problem. Sure enough, I quickly found a link that seemed promising (fig 1.2).

Figure 1.2

Fig 1.2: Searching for “United Club Membership” shows that the content exists on the desktop site. But because the mobile website redirects the URL, users wind up on the homepage of the mobile site.

Alas, following the link to United Club Membership just took me to the homepage for mobile.united.com. When users search from a mobile device, United automatically redirects links from Google to its mobile website—without checking to see if the content is available on mobile. If the content doesn’t exist on mobile, the user gets unceremoniously dumped on the homepage of the mobile website. Mobile redirects that break search—how is that ever a good user experience?

Sure, there’s a link to the full desktop site, but that too just dumped me on the desktop homepage. I could try to use United’s internal site search, but I’d wind up pinching and zooming my way through several search result screens formatted for the desktop. And honestly: why should I have to? An answer that should take me one tap from the Google search results should not require searching and tapping through several pages on both the mobile and the desktop sites.

I went and asked the representative at the desk. (Correct answer: two guests.)

I don’t bring this up just because I want to shame United for wantonly redirecting links to a mobile URL when the content isn’t available on its mobile website. (That’s a terrible thing to do, but it comes after a long list of other bad things I’d like to shame United Airlines for doing.) No, I use this example to illustrate a common misconception about mobile devices: that they should deliver only task-based functionality, rather than information-seeking content.

Information seeking is a task

Luke Wroblewski, in his book Mobile First, tells us that Southwest Airlines is doing the right thing by focusing only on travel tasks (fig 1.3):

The mobile experience…has a laser-like focus on what customers need and what Southwest does: book travel, check in, check flight status, check miles, and get alerts. No room for anything else. Only what matters most.

Figure 1.3

Fig 1.3: The Southwest Airlines iPhone application only has room for what actually matters…if what matters doesn’t involve looking up information.

Mobile experts and airline app designers don’t get to decide what “actually matters.” What matters is what matters to the user. And that’s just as likely to be finding a piece of information as it is to be completing a task.

Eighty-six percent of smartphone owners have used their phone in the previous month to look up information—whether to solve a problem, settle an argument, get up-to-the minute information such as traffic or sports scores, or to decide whether to visit a business like a restaurant (http://bkaprt.com/csm/27). Don’t believe me? Look at your own search history on your mobile device—you’ve probably tried to answer all sorts of questions by looking up information on your phone.

The Southwest Airlines desktop website includes information about their baggage policies, including policies for checked bags, carry-ons, and pets, as well as lost and found, delayed baggage, and a variety of other traveler information, such as what to do if you lose your ticket, need to rebook, or your flight is overbooked. It even includes information for parents looking to book travel for unaccompanied minors, and how Southwest accommodates disabled flyers and the elderly.

The mobile experience does not. Who are we to say that this content doesn’t actually matter?

It’s fine to optimize the mobile experience for the most common tasks. But that doesn’t mean that you should exclude valuable content.

Mobile is social

Have you ever clicked on a link from Facebook or Twitter on your phone? How about a link someone sent you in an email?

Figure 1.4

Fig 1.4: “No mobile content found. Would you like to visit the desktop version of the site?” asks The Guardian. Can you guess the answer?

Of course you have. Sharing content with our friends and colleagues is one of the bedrock ways we communicate these days. Users don’t distinguish between accessing email, Facebook, Twitter, or other social services on the desktop or on mobile—they choose them fluidly, depending on which device they’re closest to at the time. In fact, as of June 2012, nearly twenty percent of Facebook members use it exclusively on mobile (http://bkaprt.com/csm/28).

If your content isn’t available on mobile—or provides a bad reading experience—you’re missing out on one of the most compelling ways to get people to read it. Is your site littered with icons trying to get people to share your content? If your readers just get an error message when they tap on shared content, all the effort you put into encouraging social sharing is wasted (fig 1.4).

Designing for context

“Context” is the buzzword everyone throws around when talking about mobile. At the South by Southwest Interactive conference in 2011, the panel called “Designing for context” was the number one must-see session, according to .net Magazine (http://bkaprt.com/csm/29).

The dream is that you can tailor your content for the user’s context—location, time of day, social environment, personal preferences. Based on what you know about the user, you can dynamically personalize the experience so it adapts to meet her needs.

Today, we use “designing for the mobile context” as an excuse to make mobile an inferior experience. Businesses want to invest the least possible time and effort into mobile until they can demonstrate return on investment. Designers believe they can guess what subset of information or functionality users want. Everyone argues that they’re designing for the “mobile use case.”

Beware of personalized interfaces

Presuming that the “designer knows best” when choosing how to deliver personalized content or functionality is risky. We’re notoriously bad about predicting what someone will want. Even armed with real data, we’re likely to make incorrect assumptions when we decide to show some things and hide others.

Microsoft Office tried this strategy in the late 1990s. Office 97 offered many new features and enhancements, which made the user interface more complex. Long menus and dense toolbars gave the impression that the interface was “bloated” (http://bkaprt.com/csm/30). (Sound like any desktop websites you know?)

In response, Microsoft developed “personalized menus” and “rafted toolbars” which showed the most popular items first (fig 1.5). Although Microsoft had good data and a powerful algorithm to help determine which items should be presented first, it turned out that users didn’t like being second-guessed. People found it more frustrating to go through a two-stage process, hunting through multiple menus to find what they were looking for. Personalized menus violated one of the core principles of usable design: put the user in control.

Figure 1.5

Fig 1.5: Personalized menus in Office 97 attempted to prioritize only the options Microsoft thought users wanted. They were a failure.

Now imagine that instead of clicking a chevron at the bottom of the menu to expand it, the user has to click a link to “full desktop website” and then hunt around in the navigation while squinting at a tiny screen. If your website’s mobile version only offers a subset of your content, you’re giving your users the same frustrating experience. Only much worse.

You don’t have good data

Microsoft had a ton of data about which options people used most frequently. They developed a complex algorithm to present the default “short” menu based on the items people were most likely to want, based on years of history and research with multiple iterations of their product. And they still made mistakes.

The choices you make about which subset of content you want to deliver probably aren’t backed up by good data. They might not be backed up by any research at all, just a gut feeling about which options you imagine will be most important to the mythical on-the-go user.

Even if you do have analytics data about which content people are looking for on mobile, it’s not likely you’re getting an accurate picture of what people really want. Today’s crippled mobile experiences are inadequate testing grounds for evaluating what people wish they could do on mobile. As Jason Grigsby, Cofounder of CloudFour.com and MobilePortland.com, says:

We cannot predict future behavior from a current experience that sucks (http://bkaprt.com/csm/31).

If your vision for mobile is designing for context, then the first step you need to take is getting all your content onto mobile devices.

All of it? Really?

Really. Your content strategy for mobile should not be to develop a satellite to your desktop site, showing only the subset of content you’ve decided a mobile user will need. That’s not going to work because:

  • People move fluidly between devices, often choosing a mobile device even when they have access to a desktop computer. Don’t assume you can design for “the on-the-go user” because people use their mobile devices anywhere and everywhere.
  • Mobile-only users want and need to look at your content too! Don’t treat them like second-class citizens just because they never or rarely use the desktop. Even if you think of them as “mobile-mostly” users, remember that you don’t get to decide which device they use to access your content. They do.
  • Mobile supports reading content just as well as it supports functional tasks. Don’t pat yourself on the back just because you’ve mobile-ized some key features—there’s more work to do with your content.
  • Context is a cop out. Don’t use context as a rationale to withhold content unless you have real research and data about what users need in a given situation or environment. Unless you have that, you’re going to guess wrong. (And even if you do have that—given the crappy experiences most users get on mobile today, you’ll still probably guess wrong.)

Never force users to go to the desktop website for content they’re seeking on a mobile device. Instead, aim for content parity between your desktop and your mobile experiences—maybe not exactly the same content presented exactly the same way, but essentially the same experience.

It is your mission to get your content out, on whichever platform, in whichever format your audience wants to consume it. Your users get to decide how, when, and where they want to read your content. It is your challenge and your responsibility to deliver a good experience to them.


Freebie: Extended Entypo Glyph Set (EPS, PDF, PSD, Typeface, Web Font)


  

After endless suplications from the design community Daniel Bruce finally finished his update of the Entypo Glyph Set — a free set of universal 284 carefully crafted pictograms for regular design projects. The icons are available as EPS, PDF and Photoshop PSD files as well as desktop typefaces (TrueType, OpenType) and Web fonts.

Entypo Glyph Set

Download The Set For Free!

This set contains a large collection of glyphs for all occasions and uses — common pictograms that shouldn’t be missing in anybody’s arsenal. Each glyph was drawn and optimized to make sure that it fits the overall style of the suite. Overall, the set contains 284 pictograms. You can use this glyph set freely for commercial and personal projects.

The freebie is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported license. You are free to distribute, transform, fiddle with and build them into your work, even commercially. However, please always credit the original designer of the set (in this case, Daniel Bruce). The Social Extension glyphs are subject to the trademark and copyright laws of their respective companies.

Preview

Entypo Sizes Preview

Behind The Design

As always, here are some insights from the designer:

“The first Version was released in February 2012 and had around 120 glyphs. Actually, the only reason why I designed it was that I myself needed a well-designed pictogram suite for my own projects. I also wanted a suite with a more illustrated style than the ones available out there. So I started with the 20-30 glyphs that I needed at the time — ending up with 120 glyphs. And since I already had done the work, it was an obvious choice to release them free to the Web design community we all are a part of. Let’s say it was my chance to give something back.

So now — 7 months and 83.000 downloads later — it was time for an update. During that time, many people asked for new glyphs that they felt should be a part of the suite. This, together with my own ever-expanding need for pictograms, has led to Entypo 2 with over 280 glyphs.

The update has brought:

  • Over 150 new glyphs
  • Improved design of many of the old icons
  • A new social media extension
  • Improved hinting

When selecting what social media services should go into the Entypo Social, it was important for me to include services from non-Western societies as well. That’s why Entypo is the first suite where you can find pictograms for QQ, Renren, Sina Weibo, Mixi and VK. And true to the phrase “carefully crafted” I haven’t just copy-pasted the logos of all services into the suite. I have actually redrawn most of them so they are optimized for a size of 20×20 pix at 72 dpi.

The hardest pictogram to draw was strangely enough the key glyph. It sounds pretty straightforward, but getting the perfect shape of a modern key that would go well with the rest of the suite took me quite some time.

My favorite pictogram is the trash can. It has a very distinct look to it and sets it apart from all other icon fonts. The trash can is also one of those pictograms that have depth. You might notice that Entypo is a mix of flat glyphs and ones with a bit of perspective.

— Daniel Bruce

Thanks, Daniel! We sincerely appreciate your time and efforts! You can follow Daniel on Twitter and on Dribbble.

(jc)


© Smashing Editorial for Smashing Magazine, 2012.


History Of Typefaces: Industrial-Strength Types


  

The Industrial Revolution gave us a new iron age, one of cast iron, which a devotee of Vulcan told me he thought was the highest achievement of man — or, as he put it, “the hairless ape.â€� In the 18th century, cast-iron bridges sprang across British rivers such as the Tay and Severn. These lovely sculptural archways are resistant to rust, so many are still standing.

But tragedies like the Dee Bridge collapse and the terrible Tay Bridge disaster of 1879 dampened the public’s enthusiasm and led to William McGonagall’s famous ballad:

“Beautiful railway bridge of the silv’ry Tay,
Alas! I am very sorry to say,
That ninety lives have been taken away,
On the last sabbath day of 1879,
Which shall be remembered for a very long time.”

What are “Industrial-strength types”? In this article I propose to explore them.

Birth Of Trainspotting

Railway locomotives, which moved through the countryside, were the first big machines to broach people’s consciousness. As individual self-propelled machines, they altered the landscape, which had been static until that point. A coach or horse-drawn cart moved along well-worn paths, but a railway required straighter lines and a level surface, so cuttings, ramparts and bridges were built, and the coal-fired locomotive would spew fire and ash like a dragon as it clattered along.

Puffing Billy,� a giant boiler on wheels with a beam engine.
A replica of “Puffing Billy,� a giant boiler on wheels with a beam engine, runs at the Beamish Open Air Museum in County Durham, UK. Its nameplate reads “Locomotion� in sans serif.

The Agenoria, built in 1829, is on display at the Railway Museum in York, UK.
The Agenoria, built in 1829, is on display at the Railway Museum in York, UK. Its name is cast onto the driving wheel in a thick roman typeface.

The Great Western Railway was one of the first to have a livery, and Isambard Kingdom Brunel also distinguished his railway by having a broad gauge, of seven feet. Though he was well known as an engineer and a builder of bridges and iron ships, he was pleased to buy two steam locomotives from George Stephenson, who is considered by many to be the father of the modern railway for his 1829 “Rocket.�

The original “Rocket,� in the Science Museum in London.
The original “Rocket,� in the Science Museum in London.

The brass nameplate shows a strong hand-wrought letter with backward-only serifs on the upright of the K and reinforced bracketing on the serifs of E and T. Otherwise, it is an early form of the type later known as Clarendon.

The Purpose Of Clarendon Types

Clarendon was first introduced for emphasis, a precursor of bold as a related face in a family. The idea of a boldface directly related to a roman arose with the Linotype machine in 1895, where bold was offered as an alternative to italic in two-matrix machines, but in the 20th century, extended typeface families that included bolds and semi-bolds became commonplace.

Before the introduction of Clarendon as a text face, it could be seen as a display type, for example in Figgins’ two-line Pica in shade, from about 1817. It was copyrighted by Robert Besley of London’s Fann Street Foundry in 1845, and as soon as the copyright lapsed three years later, it was widely copied. Railway timetables, newspaper headings, dictionaries, guidebooks, textbooks and other places that required spot emphasis were its preferred venues at first.

Baedeker’s “Greece,� Leipzig, 1909. Clarendon used for emphasis.
Baedeker’s “Greece,� Leipzig, 1909. Clarendon used for emphasis.

In essence, Clarendon is a condensed slab-serif letterform (known as Egyptian in its earliest lead incarnations), with brackets on the serifs.

Specimen Texts

Images of railway trains frequent the Fann Street Foundry’s 1844 specimen (which still bears the name of Thorowgood & Co). They feature on sans-serif, bold and even Tuscan display types. One of my favorite pages advertises the speed of the new mode of transport:

Thorowgood’s two-lines Grotesque Outline of 1841.
Thorowgood’s two-lines Grotesque Outline of 1841.

The typeface is a condensed sans serif with a slight shadow on the right, suggesting movement. (Isambard Kingdom Brunel built the first Bridgwater station in 1841 on his Great Western Line.)

Thorowgood’s 48-point Railway Ornaments of 1841.
Thorowgood’s 48-point Railway Ornaments of 1841.

Detail of Thorowgood’s locomotive, the Centaur.
Detail of Thorowgood’s locomotive, the Centaur.

Cuts of trains that could be pieced together by printers were also made by Thorowgood for use on posters. An enlargement of the largest size (four lines pica, or two thirds of an inch high) shows a locomotive of the “Firefly� class, the Centaur (labeled in grotesque, or sans serif), which was also built in 1841 and ran on the Great Western Railway.

Fellow Travellers

The Rocket ran on the Liverpool and Manchester railway. For its 150th anniversary, a replica coach was created (now in the Railway Museum, York) along the lines of a stagecoach body, with the word “Traveller� in silver slab serif, to which an elegant two-tone shadow in blue and black (like daintily made-up eyes) has been added.

An early passenger carriage built along the lines of a stagecoach.
An early passenger carriage built along the lines of a stagecoach.

Such illusionistic shadows became a staple of the 19th-century sign-painter’s art, and many superb examples are found on surviving coaches from the time.

Nameplate of a Great Western Railway locomotive, 1838.
Nameplate of a Great Western Railway locomotive, 1838.

The North Star was built by Stephenson around 1838, and a rubbing of its brass nameplate shows a bold slab serif with brackets. The style, which became the basis of the Great Western Railway style for the next century is “exciting and has a solid magnificence,� according to Patricia Davey in her article “Locomotive Lettering� (Typographica 13, p. 12).

Kidding Around

Alphabets of things were a popular subject for children’s books in the 19th century. The Great Western Railway is depicted in Cousin Chatterbox’s Railway Alphabet (London, Dean & Son, 1854), drawn by Freeman DeLaMotte.

Cousin Chatterbox’s Railway Alphabet, 1854.
Cousin Chatterbox’s Railway Alphabet, 1854. (Courtesy of the Fox Collection of Children’s Books, San Francisco Public Library)

While the vehicles are labelled in plain grotesque (or square sans-serif) lettering, the alphabet book uses an elementary Clarendon form, suited to the subject. At the outset — “A is the ARCH — we see the Doric entrance to Euston station from 1837 (no longer extant), which was one of the first recreations of monumental Graeco-Roman architecture in Britain after its designer Philip Hardwick visited Italy. The engine shown is the “Mazeppaâ€� (a name popularized by Byron’s 1819 epic poem). Euston was opened as the base for the London and Birmingham Railway in 1838.

Gladstone, 1882.
Gladstone, 1882.

The Gladstone was built for the Brighton and South Coast railway in 1882. The sans-serif lettering floats off the surface with its multicolored 3-D effect as well as a double shadow. The red of the body detail is cleverly echoed in the highlights of the letterform. These illusionistic effects were employed throughout the British railways in the late-Victorian period.

Detail of London and North-Eastern Railway tender.
Detail of London and North-Eastern Railway tender.

Elaborately detailed lettering in a third-class compartment.
Elaborately detailed lettering in a third-class compartment.

Here are some more examples from London and North-Eastern Railways and from London Midland and Scottish railways of floating sans-serif capitals:

Bold shadowed grotesque letters from Victorian-era trains.
Bold shadowed grotesque letters from Victorian-era trains.

A century later, locomotive lettering had evolved with the times. The A4 locomotive, known to trainspotting youth as a Streak, in service on the East Coast route, was a magnificent Art Deco streamlined model, built in 1915. The first four Streaks were silver in color and went 500 miles a day. When I was a lad, the names Mallard, Falcon, Guillemot and Sir Nigel Gresley were magical to us, and we would interrupt our cricket game by the side of the track to gawk as the Flying Scotsman sped past at 100 mph. (These locomotives were mostly named after birds; Sir Nigel was the designer of this model.)

An Art Deco locomotive known to trainspotters as a Streak.
An Art Deco locomotive known to trainspotters as a Streak. (Image: Gavin Cameron)

The LNER express trains, in service until 1963, were British racing green, although Mallard and Sir Nigel were blue. The lettering was akin to Gill Sans; indeed, Eric Gill was also inspired by locomotive lettering as a boy and was a pupil and flatmate of Edward Johnston, celebrated as designer of the London Underground railway’s proprietary typeface used in its signage. Gill Sans is now institutionalized as a British national letterform (seen for example in the typography of the BBC). A rival to Monotype’s Gill Sans face was made by Stephenson-Blake and called Granby. It actually leans more toward Johnston’s interpretation of humanist sans serif, a style he had invented.

A spread from “Specimen of Printing Types� by Stephenson-Blake.
A spread from “Specimen of Printing Types� by Stephenson-Blake (Sheffield, 1932), showing Clarendon and Granby.

Pressing On

One of the great inventions of the 19th century was the all-iron printing press. Ever since Johannes Gutenberg adapted a wooden screw-lever wine press to printing in the 1440s, printers had tried to improve the power of the machine. The first successful iron press was the one made in 1800 by Walker for the third Earl Stanhope, who generously did not patent it, so anyone could build a cast-iron press. It was a huge step forward in print production and quality. The Stanhopes had the maker’s name and “Stanhope Inv.� engraved in a modern roman letter on either side of the staple.

More improvements followed, the most famous being the Albion and Columbian, but many companies made machines incorporating their own patents to improve the screw action or the pressure. The “Son of Vulcan,â€� whom I alluded to earlier, collects cast-iron machinery — in particular, iron printing presses. A visit to his collection inspired me to think about the letterforms chosen by their makers to identify them ; quite a few of his machines are unique. Unlike other cast-iron machinery, such as engines, stoves and military equipment, for which sans-serif forms seem to be preferred (because dealing with the mould when casting is easy), two letterforms dominate printing press identities: modern face and Clarendon.

F.J. Austin of New York engraved his name in a bold modern face.
F.J. Austin of New York engraved his name in a bold modern face on the metal plate bolted to his iron press, with its bas relief of acorns, patented in October 1836.

The 1848 Imperial Press.
The 1848 Imperial Press, a tabletop model, uses a bold modern for its cast name; some of the alignment is a bit erratic, perhaps because the makers attempted to follow the curve with letters that work better upright. A strut supporting the feet of this same press is in a regular, more contrasted modern typeface.

The Albion Press.
The Albion Press was another popular cast-iron printing press. The lettering is a stout modern face with bracketed serifs; in essence, a Clarendon. This one was made by Henry Watts of London in 1853.

Cincinnati Type Foundry.
Cincinnati Type Foundry’s acorn-shaped Press was made after the design of Stansbury, sometime between 1825 and 1856. The stars are a nice touch. The lettering is also Clarendon and quite regular, suggesting that punches were used to make the mould.

The British-made Lion press uses a bold Tuscan letterform.
For a change from the Clarendon, the British-made Lion press uses a bold Tuscan letterform. This press was an advance on the Albion made by Frederick Ullmer from 1866 onward. It was designed for embossing or bank-note printing, for which great pressure was required. The location, “LONDON,� is in a heavy monoline sans serif.

Stolid And Solid

Speaking of banks, there is something suggestive of strength in the best bank typography. A bronze plaque on the old Wells Fargo building on Montgomery Street in San Francisco, undated, has a condensed bold modern letterform. It is hybrid of Ultra Bodoni and Engraver’s Bold, with a dash of Imre Reiner’s 1932 typeface Corvinus Fett in the K.

Wells Fargo Bank (date unknown) bronze plaque.
Wells Fargo Bank (date unknown) bronze plaque.

Bank Chambers in Haringey, north London, suggests solidity with its bold square sans serif.
Bank Chambers in Haringey, north London, suggests solidity with its bold square sans serif. It may have been made by pressing wood pattern letters into wet cement.

A cast-iron plaque from 1869 on an iron bridge in Morpeth, Northumberland, tells the story of the bridge in bold modern. Note the initial S in “Subscription,� “Josh� and “ESQ� have been turned upside down. There’s a folk quality to this (reminiscent of the Superman logo) that puts the weight at the top of the letter.

1869 brass plaque on a footbridge over the River Wansbeck, Northumberland.
1869 brass plaque on a footbridge over the River Wansbeck, Northumberland.

I’ve found many examples of Victorian cast-iron lettering buried in ornate structures, from bridges to manhole covers to drinking fountains to public toilets — the one for drinking fountains, seen in Edinburgh, asks you to “Keep the pavement dryâ€� in a condensed, spaced gothic or sans serif.

Ornate shelter for a Victorian drinking fountain.
Ornate shelter for a Victorian drinking fountain (a dry spot in Scotland).

Iron Ladies On The High Seas

Ships are magnificent examples of machine-age artistry, and all of them have names. One of the last sailing ships with an iron hull, the four-masted windjammer Peking, was built in Germany around 1890.

The Peking in South Street Seaport, New York.
The Peking in South Street Seaport, New York.

The Turbinia in permanent dry dock.
The Turbinia in permanent dry dock.

The Turbinia was built in 1894 as the first steam-turbine-powered ship and was by far the fastest ship in the world. Charles Parsons was its engineer. The sleek and elegant design was matched by a fanciful late-Victorian letterform for the name that has the strength of a sans serif with additional midriff bulges (popularized from the 1860s to ’70s). The Ionic serifs resemble a Stephenson-Blake type of the time called Flemish Expanded, but the visual effect, with simple drop shadow, is more akin to wood type of the period.

The Mauretania is no longer extant.
The Mauretania is no longer extant.

The RMS Mauretania was the sister ship of the more famous Lusitania. At the time of her launch, she was the heaviest and largest moving object on earth. The Mauretania held the record as the world’s fastest ship from her inaugural Atlantic crossing in 1907 and on for the next 22 years. She was built for Cunard at the Swan Hunter shipyard on the river Tyne, and, interestingly, the name of the ship contains a huge typo. The North African roman province is often spelled Mauritania, but having gone ahead with it, the directors decided that the alternative spelling was acceptable.

This massive brass letter for the Mauretania was an enormous typo.
This massive brass letter for the Mauretania was an enormous typo.

The brass letters used for the name of the ship were two feet square in rudimentary sans serif, but set at an angle to create a racy, more nautical italic. My photo above is of the model ship made by Swan Hunter for its board room, and the “E� is the original letter, saved when the ship was scrapped in 1935.

The U.S.S. Pampanito in San Francisco Bay.
The U.S.S. Pampanito in San Francisco Bay.

The U.S.S. Pampanito is a submarine built in New Hampshire in 1943 that saw active duty in the Pacific during World War II. The name is Spanish for “butterfish.â€� Typical of military machines, it has chamfered gothic letterforms — like on a rugby or American football jersey — suggestive of ruggedness.

Chamfered Gothic lettering on a bulldozer.
Chamfered Gothic lettering on a bulldozer.

We would expect a bulldozer to have the same letterform. Indeed, here is a typical example from Laytonville, in Northern California:

Original Caterpillar tractor logo.
Original Caterpillar tractor logo.

However, there’s always an exception to the rule: the original logo of Caterpillar reflected the sinuous delicate creature it is named after.

Consciously or unconsciously, typographers use types for graphic effect. Bold types are used for impact, but we increasingly see subtle differences between weights of type to articulate levels of meaning. The industrial-strength types I have been discussing seem like natural choices for cast-iron machinery that emerged during this period of technological change. Today, they are found in contexts where strength or solidity is needed. But there is always a parallel history to the one we write. Forays into Tuscan or the decorative shadow effects of the sign-painter’s palette show that, no matter how straightforward a letterform, there is always an urge to adorn and decorate.

Credits

All photos copyright 2012 by Alastair Johnston, except “Sir Nigel Gresley� by Gavin Cameron. Thanks to Ted Salkin for providing access to his collection of cast-iron printing presses. Trains photographed at Beamish Open-Air Industrial Museum, Durham, UK; The Science Museum, London; The Museum of Transport, Glasgow; and the National Railway Museum, York. Turbinia and Mauretania photographed at the Discovery Museum, Newcastle-on-Tyne. Fann Street Foundry 1844 specimen, Baedecker’s Greece, and Stephenson-Blake catalogue from the Poltroon Press collection. Cousin Chatterbox’s Railway Alphabet courtesy of the Fox Collection of Children’s Books, San Francisco Public Library.

(al) (jc)


© Alastair Johnston for Smashing Magazine, 2012.


Using JavaScript to check if images are enabled

Sometimes it’s useful to know if images are enabled in the user’s browser, so that you can adjust your CSS and/or JavaScript to make sure that important content is not hidden and that the page is still usable even if images aren’t loaded.

Steve Faulkner describes one example of such a scenario in Detecting if images are disabled in browsers – using an image to convey information that is also available in text that is positioned off-screen. In a CSS on + images off scenario, sighted users won’t get any information.

It’s often possible to write your markup and CSS in a way that avoids this problem, but it isn’t always practical. Hence knowing whether images will be displayed or not is helpful.

Read full post

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Copyright © Roger Johansson


Desktop Wallpaper Calendar: November 2012


  

We always try our best to challenge your artistic abilities and produce some interesting, beautiful and creative artwork. And as designers we usually turn to different sources of inspiration. As a matter of fact, we’ve discovered the best one—desktop wallpapers that are a little more distinctive than the usual crowd. This creativity mission has been going on for over four years now, and we are very thankful to all designers who have contributed and are still diligently contributing each month.

This post features free desktop wallpapers created by artists across the globe for November 2012. Both versions with a calendar and without a calendar can be downloaded for free. It’s time to freshen up your wallpaper!

Please note that:

  • All images can be clicked on and lead to the preview of the wallpaper,
  • You can feature your work in our magazine by taking part in our Desktop Wallpaper Calendar series. We are regularly looking for creative designers and artists to be featured on Smashing Magazine. Are you one of them?

Days Go By

“Days go by so slowly in Autumn.” Designed by Mirjana Bajic from Serbia.

Smashing Wallpaper - november 12

Remember November

“This wallpaper is our tribute to great movie and graphic novel.” Designed by Agence Studio and German Ljutaev from Ukraine.

Smashing Wallpaper - november 12

A Sea Of Leaves

Designed by Arkadiusz Radek from Poland.

Smashing Wallpaper - november 12

November 2012

Designed by Vlad Gerasimov from Russia.

Smashing Wallpaper - november 12

Content Nuggets vs. Data Catchers

“Novius OS is a new CMS built-on “Create Once Publish Everywhere” principle and is powered by these stranges creatures called content nuggets and data catchers.” Designed by Jack Mü – Novius Os from France.

Smashing Wallpaper - november 12

Smoke Kills

Designed by Cheloveche.ru from Russia.

Smashing Wallpaper - november 12

Primavera

“Here is a wallpaper that celebrates the arrival of the spring in the southern hemisphere.” Designed by Finxduvey from Argentina.

Smashing Wallpaper - november 12

Moustache Movember

“Movember is a moustache growing charity event held during the month of November each year that raises funds and awareness for men’s health.” Designed by Michael Jones from Australia.

Smashing Wallpaper - november 12

Bursting Chestnut

Designed by Vlad Dusa from Romania.

Smashing Wallpaper - november 12

Abstract Peacock Wallpaper

Designed by Faria Malik from United Arab Emirates.

Smashing Wallpaper - november 12

Autumn Leaves

“Fall season brings out the best colors in nature. Even after rainfall, the bright fiery leaves still maintain their warmth and beauty.” Designed by Shay Pessah from USA.

Smashing Wallpaper - november 12

Give Thanks

Designed by Jeny Dowlin from USA.

Smashing Wallpaper - november 12

Autumn Choir

Designed by Hatchers from Ukraine / China.

Smashing Wallpaper - november 12

First Icicles Of The Coming Winter

Designed by Aleksandra Sivoronova from Latvia.

Smashing Wallpaper - november 12

Through The Looking Glass

Designed by Andrei Terbea from Romania.

Smashing Wallpaper - november 12

Ethereal

Designed by Forsaken from France.

Smashing Wallpaper - november 12

Night Dragon

“A hand-drawn dragon flying through the galaxy.” Designed by Bronte Allen from Australia.

Smashing Wallpaper - november 12

Fall Harvest

“For this month, the Fall Harvest theme is done using a scan of my original oil painting.” Designed by Beth Jenna from USA.

Smashing Wallpaper - november 12

Under The Mask

“Dreamy look under the half mask.” Designed by Goran Kojadinovic from Serbia.

Smashing Wallpaper - november 12

Calaca. The Day Of The Dead.

“This illustration was created to celebrate the dawn of one Calaca, in the Day of the Dead (El dia de muertos) this year this year that the world ends, as some say.” Designed by Celsius Pictor from Spain.

Smashing Wallpaper - november 12

Perfect Desktop

“Because a perfect desktop is an orderly desktop!” Designed by Elise Vanoorbeek from Belgium.

Smashing Wallpaper - november 12

Mustache Movember

“It’s time to grow out your mustache and celebrate mustache Movember!” Designed by Marina Zhukov from USA.

Smashing Wallpaper - november 12

Thanksgiving

Designed by Cortando Pixeles from Argentina.

Smashing Wallpaper - november 12

My Sweet Home

Designed by Paarva Creations from India.

Smashing Wallpaper - november 12

Rainy Days

“I love penguins!” Designed by Vihra Petrova from Bulgaria.

Smashing Wallpaper - november 12

Join In Next Month!

Please note that we respect and carefully consider the ideas and motivation behind each and every artist’s work. This is why we give all artists the full freedom to explore their creativity and express emotions and experience throughout their works. This is also why the themes of the wallpapers weren’t anyhow influenced by us, but rather designed from scratch by the artists themselves.

A big thank you to all designers for their participation. Join in next month!

What’s Your Favorite?

What’s your favorite theme or wallpaper for this month? Please let us know in the comment section below.

Stay creative and keep on smashing!

(vf) (il)


© Smashing Editorial for Smashing Magazine, 2012.


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