Tag: kranthi

Can User Experience Be Beautiful? An Analysis Of Navigation In Portfolio Websites


  

When users land on your website, they typically read the content available. Then, the next thing that they will do is to try and familiarize themselves with your website. Most of the time this involves looking for navigation.

In this article, I’ll be analyzing the navigation elements of a particular category of websites, i.e. portfolios. Why portfolios, you ask? Because they represent an interesting blend of creativity and development techniques. As they offer an intriguing user interface and interaction, this often borderlines with what is ultimately defined as an enjoyable user experience. Should aesthetics, originality and creativity come at the expense of usability? Can they reside on the same website in harmony?

Portfolio Navigation Main Image

These themes will be explored through a brief analysis of eight portfolio websites, carefully selected by the Smashing Team and, well, scrutinized by me! My critique will encompass a blend of usability and user experience guidelines, as well as personal opinion based on my experience. Please feel free to provide your opinion in the comment section beneath this article. Also, kindly note that the websites are presented in no particular order.

Dawid Wadach

My first impression of Dawid Wadach’s website was “Whoa! Mine-sweeping! That’s surely not good usability!â€� For those of you who are not aware of the meaning of the term “mine-sweeping”, it refers to the the action of moving the mouse pointer over screen components (usually images) to reveal links. Although children like to mine-sweep in order to find links, both teenagers and adults hate it.

Dawid Wadach
The apparent absence of navigation is the first noticeable thing on wadach.com.

It was only after stopping to read what I was randomly and rapidly uncovering with my mouse that I actually noticed that the hidden parts contained the portfolio of websites designed by Wadach. At this point I sat back and started looking for the website’s navigation.

Dawid Wadach
Hovering over the white area uncovers some of the projects undertaken by Wadach.

To be fair with Dawid, the menu is indeed visible as it’s located in the form of a button right next to his logo. My criticism towards this implementation is that after hovering over this button, I expected it to automatically show all the menu options. This was particularly true because there was no visible change in the menu button, nor on my mouse pointer when I hovered over it. Indeed, you need to click on the menu button in order to be provided with the main navigational elements.

That, in my opinion, is not good practice, and I feel that the main menu could have very easily been rendered visible at all times without altering the visual element of the website. Indeed, that is what Dawid did, although he wrongly placed it in the website’s footer.

Dawid Wadach
The main navigation menu on Dawid Wadach’s website.

On a more positive note, with regards to the hover effects of the main menu, they are very clear. The font itself is large and contrasts very well with the semi-transparent black background. The website also includes utility navigation at the top left hand corner, which is a good location for such navigation. It also includes features to share the website via social networks and to remove the mine-sweeping effect at the bottom left and bottom right hand corners.

Ironically, the links to all these features contain a hover effect on mouse-over (unlike the main menu button), which is a good usability practice. Additionally, the designer opted to change the user interface of the browser’s scrolling. In general, this is not a good usability practice, as it makes it harder for the user to locate and use the scroll. However, in this case the change was only done for aesthetic purposes, and the scroll interface does look like and behave like users would expect it to.

Conclusion

In conclusion, I feel that from a design and development perspective, the website is very well implemented. It makes great use of HTML5, CSS3 and JavaScript to provide a smooth and pleasant user experience. It is minimalistic and clean, so the user is not overwhelmed with clutter. From a usability perspective, though, I think that slight improvements to the navigation—especially making the main navigation visible at all times—will result in greatly improving the overall user experience, without affecting the whole look of the website.

Harry Vorsteher

When you’re greeted by a Flash animation explaining to you how to use the navigation (before actually seeing the website itself), well, it’s not a good sign. I personally think that the majority of users would do the same as I have, and close this animation before trying to understand what was being explained.

Users have become accustomed to certain conventions and are never eager to divert from the way they expect things to look and behave. Therefore, introducing a new, complex navigation mechanism was not a very good choice from the website’s designers (from a usability point of view).

Harry Vorsteher
The website greets its visitors with an animation explaining how to operate the navigation.

Upon closing this animation, users are greeted with two groups of navigation links, presumably linking to photo galleries. The reason why they were grouped in this way is not apparent until one clicks and drags the big wheel that lies at the center of the page. Depending on whether you opt to turn it clockwise or counterclockwise, this will scroll the photos to the right, or to the left, respectively.

Harry Vorsteher
The wheel mechanism that needs to be mastered in order to navigate through the website.

Provided that you notice and understand how to work the wheel navigation—as well as clicking on any of the categories as a means to see the photos in thumbnail format—navigation is painful, but bearable. But the excruciating pain comes when you opt to click on any of the thumbnails to see the large version of the photos.

The website background changes from light grey to a darker shade of grey, the photo occupies a large portion of the screen, and the navigation disappears. The mouse cursor also changes to a “left arrow� when you are close to the left-hand side of the screen, a “right arrow� if you are at the right-hand side, and a cross with the words “close� if you are at the very center.

This will enable you to see the previous photo, go to the next photo or close the current photo respectively. Unfortunately for the user, there is too much movement with the mouse cursor changing shape, the photo moving along the y-axis (depending on the mouse location), and an irritating pre-loader for every mouse click.

Harry Vorsteher
Horizontal and vertical scrolling (without scroll bars) is essential for viewing each image.

Moreover, if the user opts to click on the full-screen option, this removes the browser’s chrome, and further complicates navigation. In my opinion, this website basically sums up why Flash has been branded as evil amongst all usability and user experience professionals.

Conclusion

To sum it up, the user interface and the photos present in this website are truly nice and inspiring, as is the capability of the Flash developer. The navigation itself is very interesting and complex to develop. Thus, from a design and development perspective, the website is truly one to admire. However, I personally think this website is a usability nightmare, and it will inevitably lead to user frustration.

Because of its flexibility, Flash allows room for abuse. Unfortunately, several designers are more concerned with showing off their expertise rather than focusing on the user.

I am not particularly fond of the choice of using Flash instead of JavaScript libraries to create the animations for the galleries. Without resorting to recommending a re-design of the entire website, I think that some quick fixes would be to create a conventional menu which could be visible on every page of the screen.

Also, the photos in the galleries themselves should be re-sized to occupy 100% of the screen size (vertically and horizontally), thus removing the need for the users to scroll in order to see the full image. Finally, the images should be of a lesser resolution so as to minimize their loading time (and quite possibly remove the need for a pre-loader to appear for such a lengthy time as each image loads).

Justin Lerner

I love Justin Lerner’s navigation (and yes, it just happens that he also has an awesome name as well!). Joking aside, I think this website proves that usability can indeed be aesthetically pleasing. The main menu is conveniently and prominently placed horizontally, just below the logo. This is the exact place where users are most likely to search for it. It contains just five items, each of which corresponds to the five sections of the website. The font is large and visible, and each menu item changes color on hover.

Justin Lerner
This website adopts a grid approach so as to facilitate navigation.

Interesting too is the fact that the content belonging to each category is rendered more visible on mouse-over whilst highlighting the menu item to which that category belongs. When clicking the menu item or section, it expands in order to show the full content of that section. This implementation enables all of the website to be visible on a single page without cluttering the user interface.

Justin Lerner
The selected section takes center stage by expanding over the inactive ones. It is also highlighted in the second menu at the top.

What I am not entirely convinced of with this website is the need for the duplicate menu that resides just above the main menu. From an aesthetic perspective, it is modern and blends in very well with the overall look and feel of the website. However, from a usability perspective, having two menus with the same content usually confuses users as they try to click on the same-named section in both menus to see if it’s loading any different content.

Still, in this particular case, the smaller menu is doubling up as a sort of breadcrumb in order to show users which section they are currently viewing. Yet again, breadcrumbs have their own, specific usability guidelines, and it is recommended that they are adhered to.

Justin Lerner
The secondary menu (brown) replicates the same items as the main menu (grey).

Conclusion

In general, I feel the designer here did a great job in blending great design practices and good coding techniques to provide an aesthetically pleasing (and generally usable) website. Slight modifications can be introduced to improve the usability without adversely affecting the design, such as removing the duplicate menu and replacing it with a breadcrumb trail (although I seriously doubt that a breadcrumb trail is needed).

Additionally, the website would be better off from a usability perspective if more white space is introduced and the typography is more contrasting, since one needs to hover over the content in order to distinguish it well from its background.

Shelton Fleming

My experience with the Shelton Fleming website was very particular as it started off on a bad note, but quickly transformed into a most enjoyable one as I browsed through it. What ticked me off initially was the first screen that greets you when visiting the website; this consists of a yellow box containing the word “Ideas� in grey, and a grey box placed next to it containing the word “Experience� in yellow.

Shelton Fleming
Visitors are greeted with a splash page-like screen that fails to explain the brand identity in an obvious way.

The apparent lack of navigational elements frustrated me because I mistook this page with a splash page (which is a big no-no in usability since users can’t stand them). It is only when revisiting this page (after spending some more time on the website) that I noticed that the conversion of ideas into experience is actually the company’s tag line. Viewed from this perspective, this makes sense from a user experience perspective, as it emphasizes the company’s branding.

Shelton Fleming
The website’s hierarchy and navigation is clearly indicated through imagery and normal conventions such as highlighting.

In fact, the concept of “Ideasâ€� and “Experienceâ€� dictates the website navigation—each section resides at opposing ends of the screen along the horizontal plane. Hovering over each of the two sections reveals a vertical side menu with intuitively-named, visible menu items. Good usability practice is also implemented through the changing of the menu text on hover.

Also, the arrow that appears on hover is a good indication to the user that the content of each menu item will be displayed right next to it—something which actually happens when clicking on the menu items.

Shelton Fleming
Color is also effectively used to indicate hierarchy and navigation options.

Conclusion

Consistent and intuitive navigation, large sans-serif fonts contrasting sharply with their background, unobtrusive imagery, and ample use of white space makes navigating through this website an enjoyable experience. Still, I would recommend removing the splash page-like design that is set up to greet visitors. It offers very little information about how it should be interpreted. Moreover, there is a very strong branding element throughout the website—thus eliciting very little need to have a page at the beginning that risks irritating users.

Chris Wang

This website prominently revolves around the projects that Chris Wang has undertaken. In fact, the first thing that one sees is a list of project titles and accompanying icons that open up in an accordion style when clicked on (revealing a gallery of images related to the project in question).

Chris Wang
At first glance it’s not immediately evident that this is a list of projects undertaken.

The project titles have a sleek orange transition on mouse hover which indicates that they are clickable. One point of criticism would be that the list of projects is not immediately evident as to what they are—the word projects next to the first listed item is a grey barely lighter than the background.

Chris Wang
The accordion effect is coupled with a horizontal gallery of the project being viewed.

Additionally, the website offers a handy keyboard navigation mechanism that uses arrow keys to enable rapid (albeit sequential) browsing of the projects.

Chris Wang
A horizontal dark yellow fill is used to indicate what is clickable.

Conclusion

Overall, the navigation is quite intuitive. It is relatively easy to switch from one project to another, and to drill down to see more screenshots from the same projects. One aspect that can be improved is the ability to close a project after viewing it, since a project always needs to be open at any given point in time. Although this first project will be replaced by clicking on a new one, the project currently being viewed takes up precious real estate that would be better used by showing the list of projects.

Jessica Caldwell

This website makes extensive use of mine-sweeping for the purpose of navigating, effectively breaking all navigation usability conventions. In a desperate attempt to find information about the owner of the website, I scrolled below the fold and located the footer which contains a list of non-clickable items grouped under the titles “Agencies� and “Brands�. The only links in the footer are those for social media and portfolio websites of the website owner (all of which link to external websites).

Jessica Caldwell
Navigation in this website is only visible on mouse hover.

Defying the odds that a user would still attempt to browse the website at this point, I decided to mine-sweep each diamond present in the home page in order to locate basic information (such as a biography of the author and contact details). It is at this point that I noticed that the diamonds contain both items that would be classified as projects done by the author, as well as the website information that I was looking for. In a typical mine-sweeping implementation, there is no apparent hint as to which diamond holds which information.

Jessica Caldwell
One of the projects uncovered by hovering over the diamond shapes.

Clicking on any of the items in the diamonds results in the content being loaded inside all the other diamonds, with the navigation retaining its place on the same diamonds. From a visual perspective, the result is quite appealing. However, this does not improve the usability in any way.

Jessica Caldwell
Clicking on any of the navigation items opens content in the same diamonds used for navigating.

Conclusion

The website offers plenty of white space—something that generally is good for usability. Aesthetically, it’s also very pleasing. Thus, in my opinion to improve the usability, the main focus should be on improving the navigation by placing a conventional menu in the top part of the website (maybe repositioning the logo towards the top left-hand side) and placing a simple menu to its right.

The diamond design for displaying content can be retained, as I think it effectively contributes towards the identity of the author. Still, I would make it occupy less vertical space so that the footer (or at least the top part of it) is visible above the fold. In this way, users will notice that the website contains a footer.

Whether or not to include clickable links inside the footer is something that the author ultimately needs to decide—replicating the top navigation inside the footer is never a good idea. However, converting the items inside the footer into useful, deep links (perhaps to specific projects that highlight the capabilities of the author) will help.

McCormack & Morrison

I personally think that with this portfolio website, the design agency McCormack & Morrison have done an excellent job translating their slogan “Good Old Fashioned New Media� into a visual experience. Indeed, the website has a strong brand identity and an almost retro feel, with powerful, bold typography.

The only links in the home page are the logo and an “About Us� link, correctly located at the top left and top right hand corners, respectively. Although the “About Us� link is disguised as a speech bubble icon, it makes use of the title tag so that it displays the text “About McCormack & Morrison� on hover.

McCormack & Morrison
The company’s tag line is used to create a strong brand identity to greet its visitors.

Perhaps less optimally located (although at least above the fold) is the “Our Workâ€� button at the bottom right hand corner. I say “perhapsâ€� because I wouldn’t classify this placement as a usability failure, since some people will actually look just above the fold of the website in order to locate a footer. Also, the link is in the form of a button—which in itself encourages users to click on it. Missing this button would really be a pity, because this is when you would realize that the website is indeed a one page website—it scrolls vertically to reveal projects undertaken by the agency, and horizontally to see more screenshots of the same project.

McCormack & Morrison
The projects can be viewed either by using the arrow keys or the navigation at the bottom of the website.

When viewing these projects, the “our workâ€� button is replaced by arrow buttons that facilitate the browsing of each project. Although it is not mentioned on the website (which is a pity, really), the fact is that you can easily navigate through the projects using the keyboards’ arrow keys. This enables a very pleasant, yet rapid navigation. Another usability plus is that the website effectively makes use of the screen’s full width.

McCormack & Morrison
The company devotes a lot of importance to branding—hence the reason why each project starts off with the client’s logo.

Conclusion

In my opinion, McCormack & Morrison got most of their usability right. What I would introduce would be the ability to navigate through the projects in a non-sequential manner. While this isn’t a major issue with this website (as it only has four projects), it would be very tedious to have to go through a number of projects in order to reach the one that is interesting to the user visiting the website. Another issue is that there is no hint as to what project will be viewed next without actually having to visit each and every project.

Moka

Argentinian design agency Moka is well aware that its website will attract potential South American, Spanish speaking clients. So instead of offering the standard language changing mechanisms, it makes use of its website visitors’ IP address in order to provide the site in English or Spanish—depending on their location. In fact, manually changing the “/?lang=enâ€� parameter in the URL to “/?lang=esâ€� will yield the Spanish version of their website—this is good usability.

Moka
With an apparent lack of visible navigation, this website had to include navigation instructions at the bottom left side.

However, I would still provide a mechanism for users to know that the website is being shown in this language specifically for them, and provide a facility to change it to select other languages. This is because the user may be visiting the website using a device that is not theirs. Additionally, they may feel more familiar with one of the other languages that the website offers.

Moka
Samples of each project are rendered using the full size of the screen.

Back to navigation. The first thing that you’re greeted with is an abstract design along with the Moka tag-line. Having the company’s tag-line and logo prominently displayed is always good usability practice, because it informs your visitors what website they are visiting. But there is no apparent menu on the website.

Navigation becomes visible in the form of arrows that appear at both ends of the abstract design when one hovers over it. Implementing the website’s navigation in the form of mine-sweeping is never a good usability practice. To give credit to Moka, they do include instructions on how to navigate their website at the bottom left hand corner of the screen.

However, due to the placement (as well as the low-contrast the text has with the background), this is not immediately visible. Then again, if navigation is intuitive, one would not need to provide such instructions.

Clicking the navigation arrows enables the user to browse in a sequential manner through a number of projects undertaken by the company. As previously mentioned, the problem with this type of navigation is that the user needs to go through projects in a sequential manner without getting a hint of what the next project will show.

Also, the project description is barely visible, as it is located at the bottom left-hand corner of the screen. If the user fails to see it, then they will not be able to understand what they are seeing.

Moka
On mouse-over, the logo doubles up to show the “About Us” and contact information.

Another usability problem I found is that the logo breaks the convention of being clickable in order to go back to the home page. Apart from the fact that this practice is almost standard today, the website doesn’t offer any other mechanism to go back to the home page other than having to go back sequentially using the arrows.

This is something that is most likely to cause user frustration. Hovering over the logo provides the “about usâ€� and the company’s contact information—not a bad idea in order to keep a clean user interface. However, it is not intuitive enough, since users will normally hover over your logo in order to go back to the home page.

Conclusion

To end on a more positive note, the website is clean, minimalist, provides ample white space, and prominently shows the company’s portfolio—all of these will provide a positive user experience. Introducing the ability to select which projects to view (and to view them in a non-sequential manner) would by far improve the user experience. Additionally, sticking to conventions such as providing better mechanisms to go back to the home page, being able to view the information about the company, and how to get in touch with them, would also be beneficial.

Final Thoughts

Even through a brief analysis of these portfolios, it is evident that a website can be usable while at the same time having a pleasant user interface. While there is still room for even more interpretation, it’s clear that one needs to be very careful to keep in mind that a website has one focus: enabling its users to achieve their objectives—this is ultimately what usability is all about.

In the case of portfolio websites, the users’ objectives may include knowing more about the owner of the website, viewing the projects undertaken by that owner, or contacting the owner. The objective to identify (as well as develop and design) what needs to be achieved is a tough process—but also one that will inevitably lead to a healthy return on its investment.

(il) (jvb)


© Justin Mifsud for Smashing Magazine, 2012.


Useful WordPress Tools, Themes And Plugins


  

If you’re looking for some great ways to improve your WordPress workflow, read on for a massive collection of free themes, plugins, tools and tutorials. These resources were all linked via the Smashing Magazine Twitter stream, Facebook stream, and other social-media streams around the Web.

These awesome resources have now been organized and consolidated for easy reference to help you get the most out of the world’s #1 publishing platform. Enjoy!

Free WordPress Themes

There are probably a billion WordPress themes available these days. But not all of them are worth using or even looking at. Fortunately our readers send in some amazing and beautifully designed themes for us to check out and share. So without further ado, here are some of the best WordPress themes we’ve discovered along the way, neatly summarized and linked for your surfing pleasure.

Grid Portfolio Theme
Beautiful minimal and modern WordPress themes. Design for illustrators, photographers and graphic designers.
The focus should be on your work, not the theme.

Grid Portfolio Theme

Foghorn Theme
Foghorn is a minimalist WordPress theme built off of the foundation of Twenty Eleven. It has a custom options panel for switching layouts, removing sidebars, uploading a logo, and changing footer text.

Foghorn Theme

BonPress: WPZOOM
BonPress is the perfect personal blog theme. Packed with a post formats feature (for audio and video) and multiple custom widgets, like Twitter, Flickr, it will offer you a unique experience from blogging.

BonPress - WPZOOM

Roots WordPress Theme
Roots is a starting WordPress theme made for developers that is based on HTML5 Boilerplate, Starkers, and the most popular CSS frameworks.

Roots WordPress Theme

NeueGrafik: A Free Modern WordPress Theme
This theme is totally unique and simple, it’s great for any graphic designer, illustrator or photographer to showcase their portfolio.

NeueGrafik: A Free Modern WordPress Theme

Free Minimal Swiss Design WordPress Themes (4 Themes)
In this post the authors release yet another freebie: an original set of four exclusive minimal, clean WordPress themes designed by Marios Lublinski and released for the Web design community.

Free Minimal, Swiss Design WordPress Themes (4 Themes)

Free HTML 4.01/HTML5 WordPress Theme: Spectacular
A free WordPress theme that aims to provide a warm and pleasurable atmosphere for personal musings and ramblings.

Free HTML 4.01/HTML5 WordPress Theme: Spectacular

Scherzo: Free WordPress Theme
A clean, readable theme. Boasts a responsive design, which means it displays perfectly on all devices, including mobile phones (not just iPhones), tablets and desktops.

WordPress › Scherzo « Free WordPress Theme

Unspoken WordPress Theme
Advanced WordPress Premium theme that was developed from your proceeding wishes. Unspoken is our first, clean, simple and easy to customize premium WordPress theme specifically designed for your news or magazine website.

Unspoken WordPress Theme

Free WordPress 3.1 Theme: Splendio (With PSD Sources)
A new freebie: a beautiful theme, designed by Vlad and Elena Scanteie which was developed exclusively for Smashing Magazine and its readers.

Free WordPress 3.1 Theme: Splendio (With PSD Sources) — Smashing Magazine

Suburbia 1.1 WordPress Theme
Suburbia is a free premium WordPress theme for magazines. The layout is very clean and flexible and designed in a modest and minimalistic style.

Suburbia 1.1 WordPress Theme

Portfolium 1.1 WordPress Theme
Portfolium can be used on portfolio websites or blogs and has a minimalistic design that is perfect as is or as a foundation for your custom design.

Portfolium 1.1 WordPress Theme

Typominima: A gorgeous typography-based minimal WordPress theme
Neat and flexible grid-based theme for WordPress CMS and Portfolium that can be used on portfolio websites or blogs. If you are designer, artist, photographer, or other creative specialist, you can take a full advantage of Portfolium’s fresh minimalistic design — perfect as is, or as a foundation for your custom design.

Typominima — a gorgeous typography-based minimal WordPress theme

Modernist: Free WordPress theme with focus on typography
Yet another freebie: a beautiful Modernist WordPress theme, designed by Rodrigo Galindez, and released for Smashing Magazine and its readers. This theme is based on the design ideas of Jan Tschichold, Josef Müller-Brockmann, Dieter Rams, and other modernists.

Modernist: Free WordPress Theme with Focus on Typography

Free HTML 5 Responsive WordPress Theme for Photographers
Photum is a theme to use with WordPress that will turn your site into a clean portfolio that you can use to show off your photos.

Free HTML 5 Responsive WordPress Theme for Photographers

Renova WordPress Theme
Renova, a new single column theme for WordPress. The main design of Renova concentrates on a minimal style dedicated to those writers who need a simple layout, without the useless stuff. Just words… your words.

Renova WordPress Theme

Free E-Commerce WordPress Theme: Balita: Smashing Magazine
In this post the authors release yet another freebie: the Balita WordPress theme, a theme dedicated to shops that sell products for children.

Free E-Commerce WordPress Theme: Balita — Smashing Magazine

Ari WordPress Theme
A free WordPress theme for WordPress 3.0+ and translation-ready.

Ari WordPress Theme

WordPress Anniversary Theme
On January 25, 2003, a seemingly one-off comment by “Mike” on Matt Mullenweg’s blog started a chain reaction that resulted in the creation of WordPress. Today, WordPress powers millions of blogs and websites, making it incredibly easy to build a website!

WordPress Anniversary Theme

Free WordPress 3.0 Theme for Portfolios and Magazines: JournalCrunch
In this post the authors release yet another freebie: JournalCrunch WordPress 3.0+ theme, a theme for either portfolios or magazines with an integrated journal.

Free WordPress 3.0 Theme for Portfolios and Magazines: JournalCrunch

Academica: Free WordPress 3.0 Theme For Educational Websites — Smashing Magazine
A free WordPress theme designed specifically for educational websites such as universities, schools, etc.

Academica: Free WordPress 3.0 Theme For Educational Websites — Smashing Magazine

Free Theme: Quality Control, a Simple Ticket or Bug Tracker
This theme allows for the easy creation of a ticket / support system right within WordPress, and for free.

Free Theme: Quality Control, a Simple Ticket or Bug Tracker

Free Designer Theme
Beautiful minimal and modern WordPress themes. Designs for illustrators, photographers and graphic designers. The focus should be on your work, not the theme.

Designer Theme (Free)

HTML5Press
HTML5Press lives here. HTML5Press is a WordPress theme based on the HTML5 template by Jesper.

HTML5Press

Landing pages, squeeze pages, sales pages, and A/B testing made easy for WordPress
The authors deliver high-quality premium WordPress themes and plugins that make it easy to take your website to the next level.

Landing pages, squeeze pages, sales pages, and A/B testing made easy for WordPress

Bubblog Theme
A modern, clean WordPress theme. It has a management console, is widget ready, advertisement ready, and is an easily customizable theme to use.

Bubblog Theme

WordPress Plugins

Besides themes, plugins are another way to customize your WordPress website with advanced functionality and interactivity. As with themes, there are plugins for just about everything you can possibly imagine. But also like themes, it can be difficult to sift through the fluff, and find those gems that truly improve your website.

When you do find a WordPress plugin that’s great, you just have to share it with others in the community. So put on your plugin-checking goggles, because it’s about to get interesting!

Event Organizer
Event Organiser adds event management that integrates well with your WordPress site. By using WordPress’ in-built ‘custom post type’, this plug-in allows you to create events that have the same functionality as posts, while adding further features that allow you to manage your events.

WordPress › Event Organizer « WordPress plugins

Ninja Forms: A New Free Plugin for Creating Forms in WordPress
Every website needs forms – it’s an integral part of visitor/customer communication. However, custom forms can be a downright pain to code.

Ninja Forms: A New Free Plugin for Creating Forms in WordPress

Bookings: Zingiri
Bookings is a WordPress plugin allowing you to provide online booking services for your website.

Bookings — Zingiri

How To Safely Store A Password
bcrypt uses a variant of the Blowfish encryption algorithm’s keying schedule, and introduces a work factor, which allows you to determine how expensive the hash function will be. Because of this, bcrypt can keep up with Moore’s law. As computers get faster, you can increase the work factor and the hash will get slower.

How To Safely Store A Password

WordPress › Welcome Pack « WordPress Plugins
Welcome Pack is a BuddyPress plugin that enhances the new user’s experience

WordPress › Welcome Pack « WordPress Plugins

WordPress › Pricing Table « WordPress Plugins
WordPress Pricing Table plugin will help the admin to publish a pricing table on your WordPress page, or even to post content to it. WordPress Pricing Table plugin has a full-featured (but easy to use) administration option to create a pricing table.

WordPress › Pricing Table « WordPress Plugins

WordPress › Anti-Splog « WordPress Plugins
The ultimate plugin and service to stop and kill splogs in WordPress Multisite and BuddyPress, from WPMU DEV.

WordPress › Anti-Splog « WordPress Plugins

WordPress › Email Address Encoder « WordPress Plugins
A lightweight plugin to protect email addresses from email-harvesting robots by encoding them into decimal and hexadecimal entities.

WordPress › Email Address Encoder « WordPress Plugins

The Sweet Plugin: User Switching
Today’s Sweet Plugin is User Switching, which has quickly become one of my all-time favorite plugins. It allows admins to easily switch to another user, skipping the log-in / log-out process, which can become quite time-consuming for testing the websites of different users. This is one plugin that is seriously worth checking out.

The Sweet Plugin: User Switching

welaika/wordless – GitHub
Wordless is an opinionated WordPress plugin that dramatically speeds up and enhances your custom themes creation.

welaika/wordless - GitHub

Pin, organize and show your favorite places through OpenStreetMap/WMTS, Google Maps/Earth (KML), GeoJSON or Augmented-Reality browsers » Leaflet Maps Marker WordPress Plugin
The WordPress plugin “Leaflet Maps Marker� allows you to pin, organize and show your favorite places through OpenStreetMap on your blog and via different APIs on external websites or apps

Pin, organize & show your favorite places through OpenStreetMap/WMTS, Google Maps/Earth (KML), GeoJSON or Augmented-Reality browsers » Leaflet Maps Marker WordPress Plugin

Front End Upload, a New WordPress Plugin — Monday By Noon
Announcing Front End Upload, a New WordPress Plugin

Announcing Front End Upload, a New WordPress Plugin — Monday By Noon

Simple:Press
Welcome to Simple:Press — the feature-rich, completely integrated and fully scalable forum plugin for WordPress.

Simple:Press

Types WordPress Plugin: Easy Custom Post Types

Types WordPress plugin — Easy Custom Post Types — Yoast

WordPress › Wordgento « WordPress Plugins

WordPress › Wordgento « WordPress Plugins

yolink — widgets / yolink Search for WordPress
Optimize your website search, maximize engagement, and position your website to drive organic search rankings with the most powerful search solution for WordPress.

yolink - widgets / yolink Search for WordPress

More Fields « More Plugins
More Fields is a WordPress plugin that adds boxes to the Write / Edit page. These boxes contains input fields, so that additional (more) fields can be added to a post. For example, if you write about books, you can add a box where you can enter the title and the author, etc. The boxes can be placed either to the right or to the left of the Write / Edit page.

More Fields « More Plugins

Usernoise Modal Feedback: A Free WordPress Contact Form That Just Works
WordPress websites are always in need of a good contact form. Are you looking for a feedback / contact form that works right out of the box? Should it have an attractive aesthetic, with a simple yet full-featured form? Look no further than the free Usernoise Modal Feedback Contact Form plugin.

Usernoise Modal Feedback: A Free WordPress Contact Form That Just Works

WordPress SEO by Yoast, version 1.0 — Yoast
The SEO plugin by Yoast helps all our editors add SEO juice to their post fast and easy. Editors should focus on writing content, not gaming results. But they are the ones most suitable to write descriptions and titles for their own stories. This plug-in allows them to do just that without needing an SEO expert to walk them through the process. An invaluable tool for any professional blog.

WordPress SEO by Yoast, version 1.0 — Yoast

Michael Fields » Post Format Queries

Michael Fields » Post Format Queries

WP Document Revisions — Document Management for WordPress
WP Document Revisions is a document management and version control plugin for the popular content management system, WordPress. Built for time-sensitive and mission-critical projects, teams can collaboratively edit files in any format — text documents, spreadsheets, images, sheet music… anything, while seamlessly tracking the document’s progress as it moves through your organization’s existing workflow.

WP Document Revisions — Document Management for WordPress

WordPress Tools

Beyond themes and plugins, there are tools and resources to further help with improving the presentation, organization, and functionality of your WordPress-powered website. Here is our growing collection of WordPress tools that we’ve collected from around the Web:

Manage WordPress Websites from One Dashboard — ManageWP.com

Manage WordPress Websites from One Dashboard — ManageWP.com

WordPress Mobile Pack
The WordPress Mobile Pack is a complete toolkit to help mobilize your WordPress website and blog. It includes a mobile switcher to select themes based on the type of user that is visiting the website, a selection of mobile themes, extra widgets, device adaptation, and a mobile administration panel to allow users to edit their website, or write new posts when they are out and about.

WordPress Mobile Pack

zencoder/html5-boilerplate-for-wordpress
This theme is built on the HTML5 Boilerplate by Paul Irish and Divya Manian. The sole purpose of this theme is to save developers the time it takes to apply the HTML5 Boilerplate to WordPress. The “HTML5 Boilerplate” name is used with permission from Paul Irish.

zencoder/html5-boilerplate-for-wordpress

Default WordPress Generated CSS Cheat Sheet for Beginners
The goal of this cheat sheet is to assist beginners who are looking to get into WordPress theme styling.

Default WordPress Generated CSS Cheat Sheet for Beginners

Reverie: Versatile HTML5 WordPress Framework

Reverie: Versatile HTML5 WordPress Framework

HTML Sitemap for WordPress
There are plenty of plugins out there that will help you make an HTML sitemap

HTML Sitemap for WordPress

Web Design WordPress Function List

Web Design WordPress Function List

WordPress TextMate Bundle
The WordPress TextMate Bundle is a TextMate bundle that is built with the sole purpose of reducing the amount of time spent digging around the WordPress core to look up those little things that we work with every day.

WordPress TextMate Bundle

WordPress 3 Template Hierarchy
The idea is that WordPress will look for files in a theme that will be used to render the current page in a specific order.

WordPress 3 Template Hierarchy

OnSwipe — Insanely Easy Tablet Publishing
Make your blog look beautiful on tablet Web browsers in under 3 minutes.

OnSwipe — Insanely Easy Tablet Publishing

WordPress Initialization

WordPress Initialization

Wonderflux — WordPress free, open source theme framework

Wonderflux — WordPress free, open source theme framework

WordPress Widget Boilerplate
The WordPress Widget Boilerplate features file organization, documented code, and is built with the WordPress API for best practices.

WordPress Widget Boilerplate

Force Reload of Scripts and Stylesheets in your Plugin or Theme — tutorial plugin theme — WP Engineer
Force Reload of Scripts and Stylesheets in your Plugin or Theme

Force Reload of Scripts and Stylesheets in your Plugin or Theme — tutorial plugin theme — WP Engineer

Instant WordPress
Instant WordPress is a complete standalone, portable WordPress development environment. It turns any Windows machine into a WordPress development server. It can even run from a USB key.

Instant WordPress

Reverie: Versatile HTML5 WordPress Framework
Reverie Framework is an extremely versatile HTML5 WordPress framework based on ZURB’s Foundation, a powerful tool for building prototypes on any kind of device. Reverie follows HTML5 Boilerplate standards, and is hNews microformat ready. It is optimized for search engines, while at the same time improves readability.

Reverie: Versatile HTML5 WordPress Framework

andreascreten/wp-cli — GitHub
A set of tools for controlling WordPress installations from the command line.

andreascreten/wp-cli — GitHub

WordPress Tutorials

Wrapping up these super-useful themes, plugins, and tutorials, here is a hand-picked collection of some great WordPress tutorials:

Using TextMate for WordPress Code Cleanup
In this post, the author will show you how to add two useful commands to TextMate, then move through the steps taken for theme code cleanup, finally putting the commands into practice.

Using TextMate for WordPress Code Cleanup

WordPress Internals: How WordPress Boots Up — Theme.fm
The authors have written their own Twitter (or other service feed plugins / widgets), to those who are simply interested in PHP and software architecture. They invite you to join us on a journey deep into WordPress core code.

WordPress Internals: How WordPress Boots Up — Theme.fm

Importing WordPress Users via CSV Files
Conceptually, the idea is simple: import the data to create actual users for a WordPress-powered website. The trick is to clean up the data as much as possible to ensure valid username and password information. Once the data is good, importing it is easy, using a plugin.

Importing WordPress Users via CSV Files

How to Redirect Logged-In Users
WordPress provides a variety of ways to redirect logged-in users. In this DiW post, we explain each of these methods along with some useful tips and tricks along the way. These techniques enable you to redirect logged-in users to internal pages, external pages, and even return them to the current page.

How to Redirect Logged-In Users

How to Build a Shortened URL Service with WordPress Custom Post Type
The point of this tutorial is to push the limits of WordPress, and that’s going to take some real thought!

How to Build a Shortened URL Service with WordPress Custom Post Type

Ajax-Powered Error Logs for WordPress
This tutorial shows you how to set up dynamic error monitoring on any typical website. But the script will require some tweaking to get it to work with WordPress.

Ajax-Powered Error Logs for WordPress

Scaling WordPress for High-Traffic
This talk (presented by Envato’s very own developer extraordinaire, Ryan Allen), will detail some of the potential pitfalls and solutions when maintaining massive WordPress blogs, such as “Tuts+”.

Scaling WordPress for High-Traffic

How to optimize plugin loading — Practical
This tutorial is primarily for plugin developers, but it can also be useful reading for anyone working with WordPress, to help them better understand how plugins load, and what can be done to improve them.

How to optimize plugin loading — Practical

WordPress Optimization — DreamHost
There are many reasons why you may want to optimize your WordPress blog — primarily, you want your website to load quickly. That of course encompasses a number of other things such as wanting to make sure your website can handle large volumes of traffic without choking, and making sure your website’s processes aren’t being killed due to using too many server resources.

WordPress Optimization — DreamHost

WordPress HTTP API — easily GET or POST in WordPress — Yoast
The WordPress HTTP API makes fetching from (or posting to) remote servers a breeze. It does this by allowing you to be transport agnostic when you either fetch or post something. The HTTP API will choose the fastest and most reliable method out of the five different transports available in PHP. It will take care of discovering what transports are allowed on that server at that time.

WordPress HTTP API — easily GET or POST in WordPress — Yoast

WordPress SEO Tips — WPShout.com

WordPress SEO Tips — WPShout.com

Admin Bar Tricks
In this DigWP post, the authors round up a ton of tips, tricks, and plugins for ultimately mastering the WordPress admin bar.

Admin Bar Tricks

Optimizing WordPress Permalinks with htaccess
The topic of this post is how to use htaccess to optimize WordPress permalinks.

Optimizing WordPress Permalinks with htaccess

Writing Unit Tests For WordPress Plugins
When my WordPress plugin had only three users, it didn’t matter much when it broke down. By the time I reached 100,000 downloads, every new update made my palms sweat. My first goal for the WordPress Editorial Calendar was to make it do anything useful. I was new to JavaScript as well as PHP, and didn’t really know what I could pull off. In a few days I had a proof of the concept. In a few more days I had a working version, and was asking friends to install it. The calendar worked… sort of. I spent three times as much time fixing bugs as I did with coding. Once the plugin worked, I wrote unit tests to make sure it kept working. The unit tests for my calendar use QUnit, but they really use just three functions: test, expect, and ok. This article shows you how to integrate unit tests into your WordPress plugin, where to write unit tests, and how they can help you.

Writing Unit Tests For WordPress Plugins

How to Setup Your Own Nginx Powered WordPress Server
Nginx is a Web server software that allows your server to serve files. Nginx is fairly new to Web server work, relative to other popular Web servers. If you look at the graph below, you can see Apache as the “top dog� (going all the way back to before 1995), while Nginx just started showing up in March, 2007.

How to Setup Your Own Nginx Powered WordPress Server

Group WordPress Project: A Purpose & A Name
This time, the author is looking to narrow things down a bit, and needs your help to determine the overall purpose of the theme, and to start thinking about a possible name.

Group WordPress Project: A Purpose & A Name

Inside WordPress Actions and Filters

Inside WordPress Actions and Filters

How To Create Custom Post Meta Boxes In WordPress
Creating custom meta boxes is extremely simple — at least it is once you’ve created your first one using the tools baked into WordPress’ core code. In this tutorial, the author will walk you through everything you need to know about meta boxes.

How To Create Custom Post Meta Boxes In WordPress

How to use Ajax in WordPress
AJAX is the technology that lets you update the contents of a page without actually having to reload that page in the browser.

How to use Ajax in WordPress

Limiting The Visibility Of Posts In WordPress Via Usernames — Smashing WordPress

Limiting The Visibility Of Posts In WordPress Via Usernames — Smashing WordPress

How to Sync A Local And Remote WordPress Blog
If you prefer to work on your WordPress projects locally, but have to get them to sync remotely, then this tutorial is for you.

How to Sync A Local And Remote WordPress Blog

WordPress Multisite: Practical Functions And Methods — Smashing WordPress
Multisite is a powerful new feature that arrived with the release of WordPress 3.0. It allows website managers to host multiple independent websites with a single installation of WordPress.

WordPress Multisite: Practical Functions And Methods — Smashing WordPress

The Definitive Check List for Publishing Your WordPress Plugin
This tutorial will guide you through publishing your plugin in the WordPress plugin directory. It works as a check list to help you make sure the plugin will be ready for the prime time by the time you hit publish.

The Definitive Check List for Publishing Your WordPress Plugin

Last Click

More than 40 Keyboard Shortcuts to Use in the WordPress Editor

More than 40 Keyboard Shortcuts to Use in the WordPress Editor

WordPress functions.php Snippets

WordPress functions.php Snippets

WordPress Snippets
Code snippets for WordPress developers

WordPress Snippets

Huge Collection of Code Snippets: HTAccess, PHP, WordPress, jQuery, HTML, CSS
There are all sorts of different types of code and snippets that just keep growing and growing… and finally it gets to a point where I just need to dump everything, and start over again fresh. That’s the purpose of this post.

Huge Collection of Code Snippets: HTAccess, PHP, WordPress, jQuery, HTML, CSS

(jvb) (il)


© Smashing Editorial for Smashing Magazine, 2012.


Use only what you need

The other day Rachel Andrew posted Stop solving problems you don’t yet have, where she brings up an increasingly common problem with front-end development – unnecessary bloat.

I agree completely. Too many people include too much by default in their web projects these days. Boilerplates, polyfills, shivs, crazy conditional comments, rare or uneccesary meta elements, and so on.

Read full post

Posted in , , .

Copyright © Roger Johansson



Device-Agnostic Approach To Responsive Web Design


  

This is a different take on Responsive Web design. This article discusses how we can better embrace what the Web is about by ignoring the big elephant in the room; that is, how we can rely on media queries and breakpoints without any concern for devices.

The Challenge

Let’s start our journey by looking at these online tools:

Those pages let people check websites through a set of pre-built views based on various device sizes or orientations. Bricss goes one step further as it allows you to "customize" viewports by setting any dimensions you want.

Now check the-great-tablet-flood of 2011.

Do you get my drift? Trying to check layouts against specific sets of dimensions is a losing battle. Besides, using existing devices to set break-points is not what I’d call a "future proof" approach, as there is no for standard sizes or ratios.

I don’t want to go the "consider it to be harmful" route, but I want to point out that tools like these, or articles promoting a device approach (i.e. Device Diagram for Responsive Design Planning), make people focus on the wrong end of the problem, reinforcing the idea that responsive is all about devices.

To me, it seems more realistic to check our layouts through viewports of arbitrary dimensions and shapes. We don’t need anything fancy, we can simply drag the bottom right corner of our favorite desktop browser to enter: “Device Agnostic Mode”.

The Goal

The goal is to surface content, to style boxes as columns so they bring sections above the fold. The question is: when should we bring a box "up"?

Content Is King!

If we consider that content is king, then it makes sense to look at it as the corner stone of the solution. In other words, we should set break-points according to content instead of devices.

The Principle

The content of a box dictates its width. It is the minimum width of adjacent containers that create break points (a size at which we can display boxes next to each other).

Decisions are made keeping these points in mind:

  • The width of a box should be as small or as wide as possible without impairing readability.
  • The max-width of a box should take into consideration the importance of following boxes. This is because the wider the box, the wider the viewport must be to reveal subsequent boxes.
  • The goal is not to bring everything above the fold (we don’t want to fill the viewport with clutter).

In Practice

Markup

For this exercise, we will consider 5 main blocks:

<div class="grid-block" id="header"></div>
<div id="wrapper">
    <div class="grid-block" id="main"></div>
    <div class="grid-block" id="complementary"></div>
    <div class="grid-block" id="aside"></div>
</div>
<div class="grid-block" id="contentinfo"></div>

The wrapper will allow us to:

  • mix percentages and pixels to style boxes on the same row
  • set a maximum width for a group of boxes

CSS

To build our grid we will rely on display:inline-block mainly for horizontal alignment and inline flow. But note that this choice also gives us an extra edge to play with (more on this later).

Also note that we will override this styling with float to achieve some specific layouts.

    body {
        margin:auto;            /* you'll see why later */
        text-align:center;      /* to center align grid boxes */
        letter-spacing: -0.31em;/* webkit: collapse white-space between units */
        *letter-spacing: normal;/* reset IE < 8 */
        word-spacing: -0.43em;  /* IE < 8 && gecko: collapse white-space between units */
    }
    .grid-block {
        letter-spacing: normal; /* reset */
        word-spacing: normal;   /* reset */
        text-align:left;        /* reset */
        display:inline-block;   /* styling all grid-wrapper as inline blocks */
        vertical-align:top;     /* aligning those boxes at the top */
        *display:inline;        /* IE hack to mimic inline-block */
        zoom:1;                 /* part of the above hack for IE */
        width:100%;             /* boxes would shrink-wrap */
    }

    /**
     * rules below are meant to paint the boxes
     */

    .grid-block {
        height: 150px;
    }
    #header {
        background: #d6cac1;
    }
    #main {
        background: #ad9684;
    }
    #complementary {
        background: #7a6351;
    }
    #aside {
        background: #000000;
    }
    #contentinfo {
        background: #3d3128;
    }

This produces a bunch of rows.

Content-Driven Process

We define the width of each box according to its content. These values will then be used to set breakpoints. Note that the values below take into consideration a 10px gutter between columns.

Header
content: logo, navigation, search box
type: banner
minimum width: n/a
maximum width: n/a
Main
content: diverse (article, blog entry, comments, etc.)
type: main box that holds the meat of the page
minimum width: 420px [1]
maximum width: 550px [1]
Complementary
content: directory entries, tweets, etc.
type: multi-line text box with media
minimum width: 280px
maximum width: 380px
Aside
content: Ads
type: 230px wide images
fixed width: 250px or 490px (2 ads side by side)
Contentinfo
content: resources, blog roll, etc.
type: lists of links
minimum width: 220px
maximum width: 280px

The minimum and maximum widths above only come into play when the box is displayed as a column.

Breakpoints

The width of the containers establishes our breakpoints. Breakpoints are viewport's widths at which we decide to display a box as a column (instead of a row).

How Do We "Pick" Breakpoints?

Until we are able to use something like grid layout, we are pretty much stuck with the HTML flow, and thus should rearrange boxes while respecting their source order. So we go down our list, and based on the minimum width values, we create various combinations. The values below show widths at which we rearrange the layout, styling rows as columns, or changing the width of a specific column.

470px
  • header
  • Main
  • Complementary
  • Aside (250) + Contentinfo (220)
530px
  • header
  • Main
  • Complementary (280) + Aside (250)
  • Contentinfo
700px
  • header
  • Main (420) + Complementary (280)
  • Aside
  • Contentinfo

or:

  • header
  • Main (420) + Complementary (280)
  • Aside + Contentinfo
950px
  • Main (420) + Complementary (280) + Aside (250)
  • Contentinfo
1170px
  • Main (420) + Complementary (280) + Aside (250) + Contentinfo (220)
1190px
  • Main (420) + Complementary (280) + Aside (490)
  • Contentinfo
1410px
  • Head (240) Main (420) + Complementary (280) + Aside (250) + Contentinfo (220)

All of the above are potential breakpoints — each value could be used to create different layouts for the page. But is that something we should automatically do? I think not. At least not without considering these two points:

How close are the breakpoints?
We have 2 that are 20 pixels apart (1170px and 1190px); should we set both of them or should we drop one? I think that above 900px, chances are that desktop users may easily trigger a re-flow in that range, so I would not implement both. In other words, I think it's okay to go with close breakpoints if the values are below 800px — as there is less chance to confuse users when they resize their browser window.

Should we try to create as many columns as we can?
Bringing more ads above the fold may make more sense than bringing up a list of links that you'd generally keep buried in your footer. Also, you may choose to give more breathing room to your main content before bringing up boxes that the user does not really care for.

Getting Ready for Media Queries

For the purpose of this article, we'll use every single one of our breakpoints to create a new layout, which should also demonstrate that it is not necessarily a good idea.

/**
 * 470
 */
@media only screen and (min-width: 470px) and (max-width: 529px) {
    #aside {
        width: 250px;
        float: left;
    }
    #contentinfo {
        display: block;
        width: auto;
        overflow: hidden;
    }
}

/**
 * 530
 */
@media only screen and (min-width: 530px) and (max-width: 699px) {
    #wrapper {
        display:block;
        margin: auto;
        max-width: 550px; /* see comment below */
    }
    #complementary {
        -webkit-box-sizing: border-box;
        -moz-box-sizing: border-box;
        box-sizing: border-box;
        padding-right: 250px;
        margin-right: -250px;
    }
    #aside {
        width: 250px;
    }
}

/**
 * 700
 */
@media only screen and (min-width: 700px) and (max-width: 949px) {
    #wrapper {
        display:block;
        margin: auto;
        max-width: 830px; /* see comment below */
    }
    #main {
        float: left;
        -webkit-box-sizing: border-box;
        -moz-box-sizing: border-box;
        box-sizing: border-box;
        padding-right: 280px;
        margin-right: -280px;
        height: 300px;
    }
    #aside,
    #complementary {
        float: right;
        width: 280px;
    }
    #contentinfo {
        clear: both;
    }
}

/**
 * 950
 */
@media only screen and (min-width: 950px) and (max-width: 1169px) {
    #wrapper {
        display:block;
        -webkit-box-sizing: border-box;
        -moz-box-sizing: border-box;
        box-sizing: border-box;
        padding-right: 250px;
        margin: auto;
    }
    #main {
        width: 60%;
    }
    #complementary {
        width: 40%;
    }
    #aside {
        width: 250px;
        margin-right: -250px;
    }
}

/**
 * 1170
 */
@media only screen and (min-width: 1170px) and (max-width: 1189px) {

    #main,
    #complementary,
    #aside,
    #contentinfo {
        float: left; /* display:inline here leads to rounding errors */
    }
    #main {
        width: 36%;
    }
    #complementary {
        width: 24%;
    }
    #aside {
        width: 21%;
    }
    #contentinfo {
        width: 19%;
    }
}

/**
 * 1190
 */
@media only screen and (min-width: 1190px) and (max-width: 1409px) {
    #wrapper {
        display:block;
        box-sizing: border-box;
        padding-right: 490px;
        margin: auto;
    }
    #main {
        width: 60%;
    }
    #complementary {
        width: 40%;
    }
    #aside {
        width: 490px;
        margin-right: -490px;
    }
}

/**
 * 1410
 */
@media only screen and (min-width: 1410px) {
    body {
        max-width: 1740px;
    }
    #wrapper {
        float: left;
        -webkit-box-sizing: border-box;
        -moz-box-sizing: border-box;
        box-sizing: border-box;
        width:100%;
        padding-left: 17%;
        padding-right: 16%;
        margin-right: -16%;
        border-right: solid 250px transparent;
    }
    #header {
        float: left;
        width:17%;
        margin-right: -17%;
    }
    #main {
        width: 60%;
    }
    #complementary {
        width: 40%;
    }
    #aside {
        width: 250px;
        margin-right: -250px;
    }
    #contentinfo {
        width: 16%;
    }
}

For the 530px and 700px breakpoints, there is a design choice to make. Without a max-width, we'd get everything flush, but the main box (#main) would be larger than the maximum width we originally set.

Demo

The last thing to do is to create a layout to cater for IE6/7/8, as these browsers will ignore the media queries. To do so, we can use a Conditional Comment:

<!--[if lt IE 9]>
    <style>
    body {
        margin: auto;
        min-width: 850px;
        max-width: 1000px;
        _width: 900px;
    }
    #main {
        width: 55%;
    }
    #complementary {
        width: 25%;
        *margin-right: -1px; /* rounding error */
    }
    #aside {
        width: 20%;
    }
    #contentinfo {
        clear:both;
    }
    </style>
<![endif]-->

Conclusion

Not once in this article I referenced the width of a device, be it an iPad, a Xoom, or something else. Building a "content-aware grid" is a simple matter of choosing the "layout patterns" that you want, based on breakpoints that you set according to page content.

After I sent this piece to Smashing Magazine, I ran into Deciding What Responsive Breakpoints To Use by @Stephen_Greig. So obviously, we are at least two who share the sentiment that relying on devices to create layouts is the wrong approach. But I'm curious to know what everyone else is doing, or even thinking? If we had more people pushing for this, the community could be less device-centric, and could start focusing on content again.

Next Step: Responsive Media

Footnotes

[1] According to Ideal line length for content this box should be styled width a min-width of 25em and a max-width of 33em. So if your base font-size is 16px (as it should be), this translates as 400 pixels and 528 pixels.

(jvb) (il) (vf)


© Thierry Koblentz for Smashing Magazine, 2012.


Weird And Wonderful, Yet Still Illegible


  

First a question (or perhaps a Freudian jab at your subconscious): What does this shape represent?

A shape that could be a trowel, a duck, an ornamental motif, a seed-pod, or  Aladdin's lamp.

Could it be a trowel, a duck, an ornamental motif, or a seed-pod? I know, Aladdin’s Lamp! What if I told you it was an alphabetic character? What alphabet would you assign to it? Cham? Telugu? Perhaps it has the cursive quality of South Asian letterforms, created on bamboo strips (or palm leaves) and written with the pen held in one’s fist… doesn’t it?

It has been said that “we read best what we read most”. This quote was used as a type specimen in Emigre magazine in the late 1980′s by Zuzana Licko. It was written in defense of her typefaces, whose elemental shapes—designed with the strictures of the early HP laser printer in mind—challenged the commonly held notions of what made typefaces legible.

The paradigm shift—wrought by the personal computer, Postscript and desktop publishing—should have had a massive impact on the shapes of our typographic characters, just as the advances of the World Wide Web further changed the way we viewed words (even though letterforms change at the pace of the most conservative reader). Thus, radical innovations like Kurt Schwitters’ Systemschrift, (a phoenetic alphabet from 1927), are doomed to fail.

Our writing, which is derived from either Roman or Gothic forms (and sometimes both), is historic and non-systematic, said Schwitters. His “optophoenetic” approach was to make the shapes of the letters more accurately reflect how they sounded. But in order for it to work, massive re-education would be required.

Kurt Schwitters' Systemschrift, an attempt at developing a phoenetic alphabet.
Kurt Schwitters’ “Systemschrift”, an attempt at developing a phoenetic alphabet.

Licko was paraphrasing Sir Cyril Burt who wrote, “almost everyone reads most easily matter set up in the style and size to which he has become habituated.” (A Psychological Study of Typography, Cambridge, 1959, p. 18). So we do not necessarily respond to “beautiful” type. You may find Centaur elegant, but others will find the spiky serifs distracting. For this reason, rather dull typefaces (like Times Roman), come to dominate our graphic landscape. My purpose here is to examine some failed attempts at creating economy, or furthering the cause of legibility.

Is Blackletter Unreadable?

For hundreds of years English was written and read in blackletter. Today we struggle with such works, such as in the piece below printed by Richard Faques at the “Sign of the Maiden’s Head” (St Paul’s Churchyard, London, 1530). The Roman character gradually supplanted blackletter in the 17th century. It was referred to by the English printers as White Letter, due to the lighter massed effect on the page. In the 19th century, during the period known as the Gothic Revival, blackletter was reintroduced as a novelty in English printing.

For hundreds of years English was written and read in blackletter.

Our modern Roman alphabet is a hybrid reflecting the handwriting from two periods in the development of Roman letters. It combines the Capitalis Quadratus of 1st century Roman inscriptional lettering—which are our “capital” letters—with their devolved state as manifested in the 11th century in the monasteries (that had flourished in France under Emperor Charlemagne). These became our minuscules, or lower-case letters.

Charlemagne himself desired to learn to read and write, but said that “a hand accustomed to the sword could only form the simplest shapes.” By this time, war with the Arabs had cut off the supply of reeds, but relief was on the way with the introduction of papermaking (cheaper and more amenable to writing than parchment was), and goose or crow quills were substituted for reeds. These, in turn, gave way to steel pens, introduced in the 18th century (and popularized in the 1830′s), which also had a strong impact on the way we read and wrote.

Copperplate scripts, learned from writing manuals, featured steeper angles and added virtuoso flourishing. Handwriting, just like music, was considered a useful art suitable for instructing young ladies.

Script type based on the hand of its cutter, Robert Granjon: a wonderful example of the everyday handwriting of 16th century Protestant Europe
Script type based on the hand of its cutter, Robert Granjon—a wonderful example of the everyday handwriting of 16th century Protestant Europe.

As letterforms were introduced by scribes, they were soon emulated by the founders of type. In 1557, French punch-cutter Robert Granjon cut a typeface based on his own handwriting, hoping to supplant the popularity of italics (first introduced by Aldus in a 1501 Virgil), which he himself had made widespread. His Gothic script (today called Civilité, after the children’s conduct book in which it was used) unfortunately did not catch on, although it accurately reflected the everyday handwriting in Protestant Europe at the time.

The problem for Granjon was printers were equipped with blackletter (batârde) for vernacular works, Roman type for works in Latin, and if they wanted variety, (say for poetry), they used italic. Beautiful as Granjon’s vernacular script is, it was not essential. On top of this, the extra sorts (30 ligatures, 24 alternates for terminal letters, etc.) made it difficult for typesetters. But the introduction to Gautier de Châtillon’s Ten Books of Alexandreidos (Lyon, 1558) lauds the type:

“The novelty and strangeness of these letters will certainly surprise the reader, but I dare say he will be as much delighted by their cleanness and elegance. In point of beauty and legibility these letters are not outdone by others, and they are familiar to us because they imitate the written hand. What is printed looks like writing, and it may be hard to tell the pages printed with type.”

— Translated by Harry Carter, in Carter & H. D. L. Vervliet, Civilité Type, Oxford, 1966, p. 16.

As If Written By Hand

Roman letterforms evolve slowly, gradually reflecting the medium in which they are written. The Rustic letterforms of the ancient Romans, often written with a stylus on a wax tablet, were fluid and more condensed than the capitalis quadratus, but less cursive than letters written in ink with a reed (on parchment or papyrus). In 1741, Joseph Manni, a Florentine printer (and the first of our misguided visionaries) produced a unique edition of Virgil based on a manuscript of the poems (Codex antiquissimus) found in the Medici Laurentian library.

With an eye on retro-style, he cut new versions of “A”, “U” and “Y”, and sorted them with his Roman capitals to create a likeness of the original—sacrificing detail, but giving an overall approximation of the look of this ancient manuscript. He refers to them on the title-page as “Typis descriptus”, or descriptive types. Daniel Berkeley Updike had said of it: “The work displays that amazing audacity at arriving at a striking effect, notwithstanding inaccurate details and economy of method, which was typical of Italian printing of the time.” (Printing Types, Harvard, 1937, vol 1, p. 171)

Title page of Joseph Manni's unique edition of Virgil.

Florentine printer Manni cut new versions of A, U & Y to evoke a 1st century manuscript
Florentine printer Manni cut new versions of A, U & Y to evoke a 1st century manuscript.

A later typographic copy of a manuscript form was made by the celebrated Caslon foundry in 1785 (run by William Caslon III). Talbot Baines Reed’s assessment is that it “is of no particular merit though faithfully enough rendering the contemporary clerkish hand.” (A History of the Old English Letter Foundries, 1952 Edition, Faber & Faber, p. 245). The type had to be heavily kerned (which caused frequent breakage, as it was cast on angular bodies) might work in some contexts, such as a circular letter, or brief documents intended to look hand-written.

But it certainly did not work for continuous text. Nevertheless, that was how it was put to use by J. P. Cooke, a London printer, in his edition of Mary Potter’s Poetry of Nature (1789). The poems are in fact prose reworkings from the legendary Highland Bard Ossian, hailed as “The Scottish Homer”, but who was actually a fabrication of the poet James MacPherson. Cooke added titles in blackletter capitals to really confound his readers.

The decorative qualities of the blackletter caps work well individually with the plainer lowercase letters, but when grouped together, all-cap titles in blackletter become a tangle of confusion. The copperplate script, however, was popular with founders (less so with printers, because of the breakage) and was still being manufactured up until the mid-19th century.

Title page for Poetry of Nature reveals the nature of the book—shown here, a mix of Roman and Blackletter.

Script typeface cut by the Caslon foundry in 1785 that caused many problems as it had to be heavily kerned and led to frequent breakage.
Script typeface cut by the Caslon foundry in 1785 that caused many problems as it had to be heavily kerned and led to frequent breakage.

So The Blind Can Read

Before Louis Braille (1829) there were several attempts to devise a raised letterform to teach the blind to read. Valentin Haüy met Baroness Von Paradis in 1780 and “was surprised to find in her apartments several contrivances for the instruction of the blind; for instance, embroidered maps, and a pocket printing apparatus.” (Charles Timperley’s Encyclopedia of Literary & Typographical Anecdote, London, Henry G. Bohn, 1842, p. 751).

Haüy’s Essai sur l’Education des Aveugles (Paris, 1786) was a strange effort. Printed by Clousier, printer to Louis XVI (the last King of France), the book was typeset by blind children as part of Haüy’s plan to allow them to be a useful part of society, by having them set and print work for themselves to read. His fundamental blunder was he approached the problem from the angle of a sighted person, assuming that conventional alphabets offered the best hope.

A book typeset by blind children as part of Haüy's plan to make them a 'useful' part of society.

The highly decorative, non-kerning, upright script form he chose (popular in France at the time) would impede even the nimblest reading fingers. In the printed version the letter-spacing and swash cap headers also would slow you down. One minor benefit to the compositors was that since the work was produced by embossing, the young typesetters worked with right-reading types.

Two More Clues

OK, remember our quiz? Here are two more clues… what are these: Ladies’ shoes, or just squiggles?

Two more clues.

Attempts At Cleverness

Like Manni’s attempt, economy of method was the tool employed by Philip Rusher, who also falls into our “misguided visionary” category. He proposed to save space, and thereby paper, by eliminating descenders, since only five letters in our alphabet—g j p q y—have them. But he made a serious tactical error; to demonstrate his new type he chose to reprint a popular novel, Samuel Johnson’s Rasselas, Prince of Abissinia (Banbury, 1804). Apart from the fact that it is an unremittingly dull story with little incident and a dim grasp of locale, most of the story is set in Egypt—and that word, with its three descending letters in an awkward huddle, pops up frequently.

An attempt at economy – a book set in a face with no descenders.
Notice something missing…?

The type was later used by Rusher’s nephew in 1852. Rusher even obtained a patent for “various improvements and alterations in the form of printing types … so as to diminish the trouble and expense of printing, and to render it more uniform and beautiful.” But clearly they were anything but uniform and beautiful.

Egypt set in a face that extends no lower than the baseline.
The letters g, y and p are found in an awkward huddle.

An early, somewhat tongue-in-cheek, study of legibility is James Millington’s Are We to Read Backwards? This book was published by the remarkable Leadenhall Press of London (1884). The press was run by Andrew W. Tuer, an antiquarian who also enjoyed the look of old books, so his typography is quite anachronistic for that time period.

However, there is a great printer’s jest in his frontispiece which shows how books look in a railway carriage as the reader is bounced & rattled along (The frontispiece is from Millington’s introduction to English as She is Spoke, published by Field & Tuer the year before—a French-Portuguese phrase book, translated into English with a French dictionary!).

A printer's joke – the page on the left simulating the reading-on-the-train experience.
A printer’s joke—the page on the left simulating the reading-on-the-train experience.

Several “improved” alphabets are shown. Plate 5 (as shown below) is boustrophedon type, which would save eye movement in reading, but caused brain strain as well as posed problems for typesetters when they had to fix an error. Plate 7 (with no ascenders or descenders, to save space), has an almost folkloric quality to it, suggesting lettering done by amateurs.

An attempt to reduce eye-movement resulted in more problems than it solved.
An attempt to reduce eye-movement resulted in more problems than it solved.

A typeface lacking ascenders & descenders creates a visual jumble.
A typeface lacking ascenders & descenders creates a visual jumble.

Non-professional lettering is a common source for experimental alphabets. In the 1930′s the American artist Ben Shahn was documenting The Great Depression in the rural South for the Farm Security Administration. He adapted the primitive signs he’d photographed to create his own distinctive letter-forms, seen in posters and dust-jacket designs. These in turn have been digitized into the FF Folk typeface family by Maurizio Osti in 1995 (below right).

There is a problem with the typographic adaptations of quirky lettering, and that is each character is always going to look the same. When two or three “O”s appear in close proximity, they tend to become monotonous. An artist will vary letter-forms, not just to avoid predictability, but to make pairings work better together. Even without numerals, Granjon cut 138 sorts for his first Civilité type seen earlier in this article. FF Folk has two versions for each letter, and three weights to obviate the problem.

Ben Shahn dustjacket, inspired by Southern US folk signs, and a modern typeface based on Shahn's lettering.
Ben Shahn dustjacket, inspired by Southern US folk signs, and a modern typeface based on Shahn’s lettering.

Unreadable Letters In Readable Sentences

But let’s go back to our riddle. The answer is, if you haven’t guessed already, the letters “e,” “n” and “r” in Hoyt Script.

The answers to our quiz! E, N and R.

Handwriting flourished—no pun intended—in the 19th century, before the perfection of a new gadget called the typewriter (1873). And people experimented with different nibs, including one called the stub-pen, whose effect was as blunt as it sounds. Simultaneously, a major change was underway in the production of typefaces. Having learned how to grow matrices from a cast character or piece of type (to pirate typefaces), the ingenious Americans soon discovered that instead of cutting steel punches, they could simply carve a character out of a piece of soft type-metal.

This created an electrotype matrix, taking hours out of the laborious process. Typeface production accelerated, and there would be a boom in the 1880′s for the introduction of new types. James West adapted these optimized methods of production. He worked for many founders in his career, including Miller & Richard (in his native Edinburgh), Caslon and Figgins (in London), and George Bruce (in New York). In the 1880′s he worked for the Cleveland typefoundry and cut many scripts with intricate connecting strokes for them, beginning with Carpenter Script, based on the handwriting of a “Mr. Carpenter” (who worked for Robert Hoe & Company, the press manufacturer).

Released in 1883, the letters of Hoyt Script are individually unreadable, but when brought together are lively and overflowing with personality.
Released in 1883, the letters of Hoyt Script are individually unreadable, but when brought together are lively and overflowing with personality.

This script was so popular that Cleveland induced West to cut more scripts, and Hoyt Script was patented in February, 1883. It’s seen here above in Cleveland’s 1883 specimen book, where as you perhaps can see, it’s recommended as “an excellent representation of stub-pen writing.” Individually the characters are completely unreadable, but en masse, they create a unique and lively typeface, overflowing with personality.

Ideal for selling ladies’ shoes, Aladdin’s lamps, or whatever you fancy.

Note: Granjon, Manni, Potter, Haüy & Rusher books are reproduced courtesy of the Robert Grabhorn Collection on the History of Printing & Development of the Book at San Francisco Public Library. All other images from the author himself.

Editor’s Note: A big thank you to our fabulous Typography editor, Alexander Charchar, for preparing this article.

(jvb) (il)


© Alastair Johnston for Smashing Magazine, 2012.


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