08 Homework

The Final Project

prepare a pitch of your final website in a new 7-step worksheet dedicated to the final.

  1. Introduce the idea.
  2. What are you selling?
  3. This is the problem your website has to solve?
  4. How will the website solve the problem?
  5. Is the proposal sound?
  6. How it is different from other, similar websites?
  7. How does it addresses the target audience?
  8. Write down the problem you are solving and how the website will solve the problem. Include websites of similar products or competing products that helped you form your decision as to how to proceed in the work-sheet, as I will compare the pitch to the final website.
  9. You are allowed to change the problem and how you plan on solving it as time goes on. Add this to the worksheet, as this is to track your creative process.

Homework for the Unit

  1. You are to make your portfolio responsive.
  2. It is up to you to finish it.
  3. I want to see the core pages responsive to one media query, targeting small screens like the iphone.

The Webby Awards use criteria to evaluate web sites. You should be aiming for something similar.

Content
Content is the information provided on the site. It is not just text, but music, sound, animation, or video — anything that communicates a sites body of knowledge. Good content should be engaging, relevant, and appropriate for the audience. You can tell it’s been developed for the Web because it’s clear and concise and it works in the medium. Good content takes a stand. It has a voice, a point of view. It may be informative, useful, or funny but it always leaves you wanting more.
Structure and Navigation
Structure and navigation refers to the framework of a site, the organization of content, the prioritization of information, and the method in which you move through the site. Sites with good structure and navigation are consistent, intuitive and transparent. They allow you to form a mental model of the information provided, where to find things, and what to expect when you click. Good navigation gets you where you want to go quickly and offers easy access to the breadth and depth of the site’s content.
Visual Design
Visual design is the appearance of the site. It’s more than just a pretty homepage and it doesn’t have to be cutting edge or trendy. Good visual design is high quality, appropriate, and relevant for the audience and the message it is supporting. It communicates a visual experience and may even take your breath away.
Functionality
Functionality is the use of technology on the site. Good functionality means the site works well. It loads quickly, has live links, and any new technology used is functional and relevant for the intended audience. The site should work cross-platform and be browser independent. Highly functional sites anticipate the diversity of user requirements from file size, to file format and download speed. The most functional sites also take into consideration those with special access needs. Good functionality makes the experience center stage and the technology invisible.
Interactivity
Interactivity is the way that a site allows you to do something. Good interactivity is more than a rollover or choosing what to click on next; it allows you, as a user, to give and receive. It insists that you participate, not spectate.
It’s input/output, as in searches, chat rooms, e-commerce and gaming or notification agents, peer-to-peer applications and real-time feedback. It’s make your own, distribute your own, or speak your mind so others can see, hear or respond. Interactive elements are what separates the Web from other media. Their inclusion should make it clear that you aren’t reading a magazine or watching TV anymore.
Overall Experience
Demonstrating that sites are frequently more — or less than the sum of their parts, the overall experience encompasses content, structure and navigation, visual design, functionality, and interactivity, but it also includes the intangibles that make one stay or leave. One has probably had a good overall experience if (s)he comes back regularly, places a bookmark, signs up for a newsletter, participates, emails the site to a friend, or stays for a while, intrigued.

08 Midterm Presentation

Week 8
10/16

Midterm Portfolio Presentation. Development of the Final Assignment / website.

Homework

Final assignment: create a site that sells something. Develop a proposal for your final project. Final Assignment is Due: at the end of the course. Topic for final is Due: next week. Second Quarter Assessment: Midterm. Have your midterm up by Wednesday Night so I can grade your work.

Materials

Additional materials for this unit can be found by following these links:

Goal

The goal of this unit is to:

  • provide each student with the time to exhibit their work to the rest of the class, to share what went right, and the walls they have hit because it takes time to digest the large amount of new information that we have covered in the last six weeks.
  • receive feedback from everyone else about what works and does not work so well.
  • discover that you have all been in the same boat, which should make you feel a whole lot better.

Outcomes

At the end of this unit, students will have:

  • spent about ten minutes each presenting their portfolio and their typography assignment.
  • expressed the UX and IA decisions that went into the project
  • explained the problems they set out to solve
  • show the way that they tackled those problems.
  • used the work-sheets to help present and express themselves.

Definitions

These are the general criteria that The Webby Awards use to evaluate web sites. You should be familiar with them.

Content
Content is the information provided on the site. It is not just text but music, sound, animation, or video — anything that communicates a sites body of knowledge. Good content should be engaging, relevant, and appropriate for the audience. You can tell it’s been developed for the Web because it’s clear and concise and it works in the medium. Good content takes a stand. It has a voice, a point of view. It may be informative, useful, or funny but it always leaves you wanting more.
Structure and Navigation
Structure and navigation refers to the framework of a site, the organization of content, the prioritization of information, and the method in which you move through the site. Sites with good structure and navigation are consistent, intuitive and transparent. They allow you to form a mental model of the information provided, where to find things, and what to expect when you click. Good navigation gets you where you want to go quickly and offers easy access to the breadth and depth of the site’s content.
Visual Design
Visual design is the appearance of the site. It’s more than just a pretty homepage and it doesn’t have to be cutting edge or trendy. Good visual design is high quality, appropriate, and relevant for the audience and the message it is supporting. It communicates a visual experience and may even take your breath away.
Functionality
Functionality is the use of technology on the site. Good functionality means the site works well. It loads quickly, has live links, and any new technology used is functional and relevant for the intended audience. The site should work cross-platform and be browser independent. Highly functional sites anticipate the diversity of user requirements from file size, to file format and download speed. The most functional sites also take into consideration those with special access needs. Good functionality makes the experience center stage and the technology invisible.
Interactivity
Interactivity is the way that a site allows you to do something. Good interactivity is more than a rollover or choosing what to click on next; it allows you, as a user, to give and receive. It insists that you participate, not spectate.
It’s input/output, as in searches, chat rooms, e-commerce and gaming or notification agents, peer-to-peer applications and real-time feedback. It’s make your own, distribute your own, or speak your mind so others can see, hear or respond. Interactive elements are what separates the Web from other media. Their inclusion should make it clear that you aren’t reading a magazine or watching TV anymore.
Overall Experience
Demonstrating that sites are frequently more — or less than the sum of their parts, the overall experience encompasses content, structure and navigation, visual design, functionality, and interactivity but it also includes the intangibles that make one stay or leave. One has probably had a good overall experience if (s)he comes back regularly, places a bookmark, signs up for a newsletter, participates, emails the site to a friend, or stays for a while, intrigued.

06 homework

  1. Don’t Fear Web Typography

      

        
  2. click to start the video.
  3. Watch the the Don’t be Afraid video on Web Typography by Jessica Hische and Russ Maschmeyer. It is only 11 minutes long. The first half explains font-family, font-weight, font-size, text-transform, letter-spacing, line-height and text-align. The second half goes through the creation of a menu in 11 steps with a link to the the starting file along with the steps mentioned in the video so you can follow along: step 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and the final step 11. Take a look at the finished file. You’ll learn a lot and it is what I want your typography to look like, so please take the time to watch the video!
  4. Know the rules in design and typography. Know when to break them. Be inspired to push or break the rules for typography in web design. David Carson on the end of print with William S. Burroughs reading from his own texts.

    David Carson: The End of PRINT

      

     
  5. David Carson speaking about his own work.

    David Carson: Ted Talk

      

  6. Create a poster utilizing your work using Illustrator or Photoshop, and then scale it down to a pamphlet size and code it for the web.
  7. Include a profound statement, a saying you are attracted to, or a poem on which to exercise your newfound web typography skills.
    • Untiled poem by ee cummings (for inspiration —you do your own thing):

       
      l(a
       
      le
      af
      fa
      ll
       
      s)
      one
      l
       
      iness

  8. The Type Poster is due in Two Weeks. The new typographic possibilities have to be reflected in your portfolio. No traditional fonts. The midterm is due next week for in-class presentation and critique.

Climate Emergency Teach-In Assignment

  • In 2018 The New School spent the week on DISRUPT CLIMATE INJUSTICE. Create a five page website highlighting one or another aspect of climate change and build a convincing website. State your case, back it up with facts and tell the world what you are going to do about it. I do not expect you to write so much as express your opinion with the facts and pictures that you gather. This semester they have the Climate Emergency Teach-In on March 2, a Monday, from 11:00 to 3:00. I will be there. Attend and do your website on the climate emergency.
  • The Website is due in Two Weeks along with the portfolio website. The new Grid Layout and typographic possibilities have to be reflected in your portfolio and the Climate Emergency Teach-In website.
  • 07 Midterm Portfolio Class time

    Week 7
    10/9

    In Class Help Session to go over your work in preparation for presentation next week.

    Homework

    1) Design midterm to be responsive and use media queries to target different devices. 2) Publish midterm for midterm grade. Read chapter 12. Due: The following week.

    Materials For Responsive Design

    Additional materials for this unit can be found by following these links:

    Materials For Building a Website

    Additional materials for this unit can be found by following these links (30 pages):

    Materials for Fonts and Typography

    Additional materials for this unit can be found by following these links (29 pages):

    Goals

    The goals of this unit are to:

    • Incorporate media queries into web design.
    • To design around the challenges that media queries create when layout out a page across dissimilar devices.

    The future of the web is not necessarily tied to the browser window that you have been using. Chances are that it’ll be mobile. Spanning screens from large to small requires a complete separation between content and form, so that the content can be rearranged to fit the different viewports.

    Outcomes

    At the end of this unit, students will have:

    • Been prepared for a much more expansive web of the future
    • Incorporated media queries as the basis for future-proofing their own designs.
    • used the various layout strategies that CSS offers in conjunction with media queries.
    • Applied these skills to their Portfolio site.

    Step-by-Step

    15 Review homework and answer questions.
    40 media queries
    20 practice: media queries
    10 break
    70 Hands on in class: making the portfolio responsive

    Talking Points

    Topics covered in the reading:

    Chapter 12: Style Sheets for Mobile to Desktop

    1. Mobile Strategies and Considerations 328
    2. Understanding and Implementing Media Queries 333
    3. Building a Page that Adapts with Media Queries 340

    Current Practices

    Responsive Web Design is all over the web. In its short existence, no big site has not been redesigned to take advantage of it, and many do it very well:

  • This Is Responsive
  • Mule Design Holiday Party
  • Caava Design
  • Frank Chimero
  • Blood, the Branding Agency
  • Women and Tech
  • Jeremy Holmes Studio
  • Adobe HTML
  • Disney
  • Edita’s Casting
  • Rich Brown
  • Etch

    News and External Resources

    Inspirational Links to help you explore in preparation for the final.

    1. Smashing Magazine’s Mobile Content Strategy article.
    2. Google’s Friendly Mobile Test. Does your site pass?
    3. Google’s Page Speed Test. This test (and recommendations on how to fix the problems) are a great way to make sure your site is as good as it can be.

    Definitions

    These are the terms that participants should be familiar with during this unit:

    Responsive Web Design article from Wikipedia

    Responsive Web Design (RWD) is an approach to web design in which a site is crafted to provide an optimal viewing experience—easy reading and navigation with a minimum of resizing, panning, and scrolling—across a wide range of devices (from desktop computer monitors to mobile phones).

  • 08 Final Project Objectives

    Outcomes

    At the completion of the final project, students will have developed the following skills:

    • Project management skills
      1. Managing files and using file-naming conventions
      2. Designing for usability and accessibility
      3. Managing a quality assurance test
      4. Factoring visitor response into redesign
      5. Synthesizing content based on reflection
    • Design skills
      1. Investigating and incorporating color and layout consistently
      2. Applying principles of user interface design
      3. Considering screen size
      4. Designing consistent website pages
      5. Rebuilding web pages based on visitor feedback

    The Webby Awards use criteria to evaluate web sites. You should be aiming for something similar.

    Content
    Content is the information provided on the site. It is not just text, but music, sound, animation, or video — anything that communicates a sites body of knowledge. Good content should be engaging, relevant, and appropriate for the audience. You can tell it’s been developed for the Web because it’s clear and concise and it works in the medium. Good content takes a stand. It has a voice, a point of view. It may be informative, useful, or funny but it always leaves you wanting more.
    Structure and Navigation
    Structure and navigation refers to the framework of a site, the organization of content, the prioritization of information, and the method in which you move through the site. Sites with good structure and navigation are consistent, intuitive and transparent. They allow you to form a mental model of the information provided, where to find things, and what to expect when you click. Good navigation gets you where you want to go quickly and offers easy access to the breadth and depth of the site’s content.
    Visual Design
    Visual design is the appearance of the site. It’s more than just a pretty homepage and it doesn’t have to be cutting edge or trendy. Good visual design is high quality, appropriate, and relevant for the audience and the message it is supporting. It communicates a visual experience and may even take your breath away.
    Functionality
    Functionality is the use of technology on the site. Good functionality means the site works well. It loads quickly, has live links, and any new technology used is functional and relevant for the intended audience. The site should work cross-platform and be browser independent. Highly functional sites anticipate the diversity of user requirements from file size, to file format and download speed. The most functional sites also take into consideration those with special access needs. Good functionality makes the experience center stage and the technology invisible.
    Interactivity
    Interactivity is the way that a site allows you to do something. Good interactivity is more than a rollover or choosing what to click on next; it allows you, as a user, to give and receive. It insists that you participate, not spectate.
    It’s input/output, as in searches, chat rooms, e-commerce and gaming or notification agents, peer-to-peer applications and real-time feedback. It’s make your own, distribute your own, or speak your mind so others can see, hear or respond. Interactive elements are what separates the Web from other media. Their inclusion should make it clear that you aren’t reading a magazine or watching TV anymore.
    Overall Experience
    Demonstrating that sites are frequently more — or less than the sum of their parts, the overall experience encompasses content, structure and navigation, visual design, functionality, and interactivity, but it also includes the intangibles that make one stay or leave. One has probably had a good overall experience if (s)he comes back regularly, places a bookmark, signs up for a newsletter, participates, emails the site to a friend, or stays for a while, intrigued.

    03 Media Queries

    CSS Media queries are a way to apply styles by targeting specific physical characteristics of the browser, like viewport size. Viewport size is the size of the browser window on a web browser, or the size of the device screen on a smart phone. Media queries consists of a media type and zero or more expressions that check for the conditions of particular media. When the expressions match the physical characteristic they activate style definitions that usually overwrite previous style definitions so the page remains responsive, for example, to changes in the viewport. Media queries originated from media types.

    Media Types

    In CSS2.1, media types specify how a document is to be presented on different media: on the screen, paper, a speech synthesizer, a braille device, projected TV, etc. It uses the @media rule.

    It’s possible to target different @media rules within a stylesheet, allowing difference between print:

     @media print {
        body { font-size: 10pt }
      }
    

    and screen:

      @media screen {
        body { font-size: 13px } 
      }
      

    Media Queries

    CSS3 grafted media queries. onto media types. Media queries allow the physical characteristics of the media determine how the CSS layout is to be rendered. That allows designers to tailor the presentation of the media to different devices without changing the content. The content dynamically adapts to changes in the viewport.

    A media query consists of a media type and zero or more expressions that check for the conditions of particular media features like height, width, and orientation. A change in the width, height, or orientation of the viewport triggers the media query to switch styles in real time.

    This mobile example is best experienced on a smart phone as it is set to toggle between portrait and landscape orientations and changes as you orient your phone vertically or horizontally. You can also change the viewport by changing the width of the window.

      /* Portrait */
    @media screen and (orientation:portrait) {
        /* Portrait styles */
    }
    /* Landscape */
    @media screen and (orientation:landscape) {
        /* Landscape styles */
    }
    

    Media conditions that can be queried

    A list of different queries that can be addressed from a device. Device can mean the full screen of a device or the display of a browser window. Conditions in bold are most used.

    • width
    • height
    • device-width
    • device-height
    • orientation (portrait or landscape)
    • aspect-ratio
    • device-aspect-ratio
    • prefers-color-scheme
    • color (how many colors the device is capable of)
    • color-index
    • monochrome
    • resolution (including retina display)
    • scan
    • grid

    How Media Queries Work: Boolean Logic

    You may query as many media as you like using boolean operators to determine the logic of each query.

    Use “and” to specify in addition to and “,” to specify or, as in this example @media all and (min-width: 700px) and (max-width: 900px), (orientation:landscape) , which reads, for all media, the minimum width is 700px and the maximum width is 900 pixels, or the orientation is landscape. You can also use negation by writing out the word “not”.

    When using and, both parts have to be true to activate the media query. If using or (“,”) the media query is true if any one part is true.

    The most common way to use media queries is to create a separate media query for each size, and use CSS to override the previous media query with a subsequent media query:

     /*default styles for large computer monitor */
    @media only screen and (min-width: 1200px) {
        /* Style adjustments for laptops*/
    }
    @media only screen and (min-width: 800px) {
        /* Style adjustments for tablets*/
    }
    @media only screen and (min-width: 480px) {
        /* Style adjustments for phones*/
    }
    

    How to Use

    Like media styles, media queries can be used to change the style sheet or change the style within a single stylesheet. I’ve rarely encountered changing the style sheet. Use media queries to change the style within a stylesheet.

    Changing Stylesheets

    Example (download ) Changing the window to 700 or less pixels wide selects the “narrow.css” external style sheet to determine the style, “medium.css” determines the style when the viewport is between 701 to 900 pixels wide and the “wide.css” determines the style when the viewport is wider than 900 pixels.

    The three stylesheets are switched in real time as the window is resized.

    <link rel='stylesheet' media='screen and (max-width: 700px)'
    href='narrow.css' >
    <link rel='stylesheet' media='screen and (min-width: 701px) 
    and (max-width: 900px)' href='medium.css' >
    <link rel='stylesheet' media='screen and (min-width: 901px)'
    href='wide.css' >
    

    Changing Styles within a Stylesheet

    The more common approach is to use media queries within a single style sheet.

    The @media rule comes first, an opening bracket, the css rules to be affected and a closing bracket:

    @media all (max-width: 900px) {
    section {width: 480px;}
    article {width: 480px; background-color: red;}
    }

    Demonstration of media queries integrated within the stylesheet itself.

    Where to Place Media Queries?

    Media queries are placed at the bottom of the CSS style sheet. This allows whatever rules activated by the media queries to override existing definitions, initiating a change in the layout.

    To keep scrolling to a minimum while writing the CSS, I recommend writing the rules right after the selectors, one property after the other, rather than each property on its own line.

    Locking Down the Viewport and Zoom

    When the iPhone was released it needed a way to resize existing website so that they fit. It assumes a viewport of 980 pixels and zooms it to fit the website to the screen resolution by default, unless you tell it not to. This requires the following code in the header:

    <!- This sets the viewport to the device (iPhone) screen size, and forces the zoom to be 1:1 
    ================================================  -->
    <meta name="viewport" content="width=device-width, initial-scale=1, maximum-scale=1" >
    

    Two approaches to building a responsive website.

    Develop the smallest layout first and use @media queries to address larger viewports or start with the largest viewport and work your way down to the smallest. The following example uses three break points: below 600px for phone, below1000px for tablet, and below 1400px for laptops. Anything above targets large computer motors.

    Use min-width to scale up from the the smallest viewport and max-width to scale down from the largest viewport.

    Phone First

    /* Default styles for smart phones */
    @media only screen and (min-width: 800px) {
        /* Style adjustments for tablets*/
    }
    @media only screen and (min-width: 1200px) {
        /* Style adjustments for laptop screens*/
    }
    @media only screen and (min-width: 1600px) {
        /* Style adjustments for large computer monitors*/
    }
    

    Large Computer Monitor First

     /*default styles for large computer monitor */
    @media only screen and (max-width: 1200px) {
        /* Style adjustments for laptops*/
    }
    @media only screen and (max-width: 800px) {
        /* Style adjustments for tablets*/
    }
    @media only screen and (max-width: 480px) {
        /* Style adjustments for phones*/
    }
    

    View Websites in Different Viewports

    In Safari access the Enter Responsive Design Mode (Option-command R) to see all the possible sizes at once (you will need to have clicked on the expert mode on the last pane in the preferences). Google and Firefox have a similar feature in the Web Inspector.

    Smashing Magazine has good articles, and tools to help you, including a preview of what a device size looks like with Resize my browser window, and a responsive, a way to see your project in all widths at once.

    Light/Dark Mode

    The light/dark color scheme can automatically switched to the the scheme used by the website. You will need to prepare your CSS for both light and dark schemes. See MDN docs for an example.

    @media (prefers-color-scheme: dark) {
    }

    Additional Resources

    Go further by following these links:

    CSS Tricks Guide to Media Queries

    MDN Responsive Images

    web.dev Responsive Design

    06 Web Typography

    Week 6
    10/2

    Type has exploded on the web. Principles of typography, formatting text and using type for effective communication when designing for the web. Activity: Practice using Typefaces from different sources. Activity: Work on Website in class/Peer Review light discussion.

    Homework

    Send peer review comments to peer and to me. Due: ASAP so the peer review can be incorporated into the midterm. Watch the videos on and by Carson. Create typography assignment. Read chapter 13. Due: In two weeks.

    theQUIZ testing comprehension of CSS Layout Strategies.

    Goals

    The goals of this unit are to:

    • To catch up if you are behind, or to help other catch up if you are beginning to feel that you know what you are doing.
    • Provide critique, guidance and help to finish your partner’s midterm portfolio site.
    • Extoll the role of typography in communication.
    • Understand the basic rules of Typography.
    • Introduce embedded web fonts.
    • Be able to work the text and fonts in CSS.
    • To be inspired to push the Typographic boundaries in creating your own work.

    Outcomes

    At the end of this unit, students will have:

    • An understanding of how to use grids in design.
    • The ability to use CSS grids to do layout.
    • A working knowledge of typography for use on the web
    • Access the many web fonts available
    • The ability to set type rather than rely on the defaults.
    • Be conscious of what makes type legible.
    • know how to follow the rules, and when to break them for effect.
    • Be inspired by Carson discussing his work.

    Materials

    Additional materials for this unit can be found by following these links:

    Step-by-Step

    30 Review homework and answer questions.
    40 Quiz
    5 Assessable Tasks and grading rubric used in the evaluating each student.
    40 Peer Review
    10 break
    5 Typography: Using type to communicate
    5 Type on the Web
    10 Lecture/Demonstration: Formatting Text
    10 Lecture/Demonstration: Web Fonts
    5 Character Encoding and entities lookup

    Talking Points

    Topics covered in the reading:

    Chapter 10: Formatting Text with Styles

    1. Choosing a Font Family 243
    2. Specifying Alternate Fonts 244
    3. Creating Italics 246
    4. Applying Bold Formatting 248
    5. Setting the Font Size 250
    6. Setting the Line Height 255
    7. Setting All Font Values at Once 256
    8. Setting the Color 258
    9. Changing the Text’s Background 260
    10. Controlling Spacing 264
    11. Adding Indents 265
    12. Setting White Space Properties 266
    13. Aligning Text 268
    14. Changing the Text Case 270
    15. Using Small Caps 271
    16. Decorating Text 272

    Chapter 13: Working with Web Fonts

    1. What Is a Web Font? 354
    2. Where to Find Web Fonts 356
    3. Downloading Your First Web Font 358
    4. Working with @ font- face 360
    5. Styling Web Fonts and Managing File Size 365

    Current Practices

    A lot of websites deserve to be looked at as standard bearers for the web. Here are a few that will provide inspiration as you implement your own typography:

    Midterm Rubric

    Midterm Rubric

    above expectations

    (A)

    at expectations

    (B)

    needs work

    (C)

    below expectations

    (D)

    Quality of work Website effectively communicates skills, stands out, is comprehensive and exquisitely executed. Fully functional front page, product page and bio page. Website does not effectively communicate skillset. Pages are simplistic, not fully functional or incomplete. Pages missing or too incomplete to be functional.
    Clean Design Design is consistent with clear design elements throughout; Design tied to meaning; Nothing irrelevant, everything has purpose. Design satisfies the requirement. Communicates its intent and is clear Design is simplistic and does not add anything to the communication. Design hampers the communication.
    Technical Ability Is innovative and uses User Experience guidelines to develop engaging web site. HTML is semantic and validates. Various CSS strategies are used to layout the website. Code has errors but still works. Code does not work.
    Research The portfolio is well situated and targets all potential users. The portfolio is well thought out from the artist’s point of view but does not target audience. The portfolio demonstrates artist’s perspective but lacks general appeal. Lack of research shows up in product that is not clearly defined for any audience.

    Assessable Tasks

    Assessable tasks are those core tasks required to create modern web design.

    Tasks / Activities Date Requirements/Indicators
    Marking-up Content Week 2 Is the markup valid and semantically correct HTML5?
    Styling the Content Week 4 Is the CSS valid, clean, and using structural selectors when possible? Are various layout strategies used to construct the pages?
    Constructing the Portfolio Site Week 6 Information Architecture Is the site logically laid out? Is it SEO friendly? Is it tracked using Google Analytics?
    Is the web site Future Proof? Week 8 Is the website responsive to a change in viewport size, from an iPhone to the standard web browser?
    Explore CSS3 and HTML5 Week 9-11 Are CSS3 & HTML5 being used to create the final website?
    Modularity and Interactivity Week 12-14 Are PHP and Javascript being used in the final website?
    Forms Week 12-14 Are forms being used in the final website?

    Definitions

    These are the terms that participants should be familiar with during this unit. Most of you have had typography, and they should be familiar but if not, please check out the “12-fall/06-typographic-resource/”Basic Typography Resource for more.

    Text Type

    Designed to be legible and readable across a variety of sizes

    Display Type

    Designed to attract attention and pull the reader into the text. It can be more elaborate, expressive, and have a stylish look.

    Legibility

    Legibility describes the design of a typeface and how easy it is to distinguish different letters from one another.

    Readability

    How easy words, phrases, and blocks of text can be read. Readability describes how well a typeface works in practice. Good typography is transparent in the way it encourages the user to read the copy.

    Alignment

    Text can be centered, justified, left or right-justified.

    Inter Paragraph Spacing

    Should you indent a paragraph or use a line space? Whatever you do, do not rely on the default. Design that spatial relationship like any other.

    The Length of a Line of Text

    Long lines of text are hard to read and make it difficult to find the next line. An ideal length is somewhere around 65 characters.

    Leading

    line-heght is the distance between one baseline of text and the next.

    Kerning

    The space between specific character pairs. Some combinations require more or less distance than others to make the space appear uniform. Kerning pair information is stored in the font’s metrics.

    Tracking

    Like Kerning, it changes the letter space between characters but it does do for a selected line of them. Large type can be tracked negatively, and very small type sometimes needs some extra space to be more easily readable.

    Case

    Type can be lowercase, uppercase, and mixed case. Lowercase (with capitalization for grammar) is standard. All capitals can be hard to read for more than a few words.

    Font Style and Font Weight

    Roman face fonts are the easiest to read. true italic and bolding are better than the browser’s algorithm for turning a roman face bold or italic.

    Color

    When you squint your eyes and look at the type, it hopefully has an even grey look to it. If it is blotchy, the tracking, kerning and justification can be adjusted to control for that.

    Contrast

    How the color of the text works with the color of the background. Black against white is ideal but that can be too start. Large type can handle lower contrast better than tiny type.

    Number of different fonts:

    Keep it simple! Each font takes as much time to download as a large picture, close to 100K, so be sparing for both design and resource reasons.

    Typeface

    Choose readability for the body copy, either serif or sans-serif, and if you are going all out for style, do that with the Display face.

    Serifs

    Serifs supposedly help lead the eye along the line of type but I’m not sure if that is true or not with type on the computer screen. Either way, make sure that the text type is legible and readable.

    Font Size

    Generally speaking, fonts are not used in isolation and are usually in a hierarchy developed to lock in particular font size ratios. There is also a hierarchy of font width to consider, from thin to thick, and from condensed to expanded. Be consistent and use your best design judgment, and make sure you read the last section on web fonts, and use rems to size your type.

    06 Character Encoding

    The Character Set

    32
    33 !
    34
    35 #
    36 $
    37 %
    38 &
    39
    40 (
    41 )
    42 *
    43 +
    44 ,
    45
    46 .
    47 /
    48 0
    49 1
    50 2
    51 3
    52 4
    53 5
    54 6
    55 7
    56 8
    57 9
    58 :
    59 ;
    60 <
    61 =
    62 >
    63 ?
    64 @
    65 A
    66 B
    67 C
    68 D
    69 E
    70 F
    71 G
    72 H
    73 I
    74 J
    75 K
    76 L
    77 M
    78 N
    79 O
    80 P
    81 Q
    82 R
    83 S
    84 T
    85 U
    86 V
    87 W
    88 X
    89 Y
    90 Z
    91 [
    92 \
    93 ]
    94 ^
    95 _
    96 `
    97 a
    98 b
    99 c
    100 d
    101 e
    102 f
    103 g
    104 h
    105 i
    106 j
    107 k
    108 l
    109 m
    110 n
    111 o
    112 p
    113 q
    114 r
    115 s
    116 t
    117 u
    118 v
    119 w
    120 x
    121 y
    122 z
    123 {
    124 |
    125 }
    126 ~

    If you see unexpected error marker in your writing it is because you are encoding it with ASCII, which was originally developed for a seven bit system back in the early 1960’s, and has 128 information points to represent characters, of which the first 33 are mostly obsolete control codes. The printable characters are listed here. If you want to use additional characters, called entities, you can look up the special codes below.

    Because there are many more characters than 128 ASCII characters, a more capable unicode was introduced with over 100,000 characters. Because of issues related to how computers read information, the 8bit multibyte character encoding for Unicode is the most popular. It is called utfF-8. It works by conjoining up to four 8 bytes (each composed up of 8 bits), with the first byte reproducing the ASCII characters so it is backwards compatible.

    Number
    of bytes
    Bits for
    code point
    First
    code point
    Last
    code point
    Byte 1 Byte 2 Byte 3 Byte 4
    1 7 U+0000 U+007F 0xxxxxxx
    2 11 U+0080 U+07FF 110xxxxx 10xxxxxx
    3 16 U+0800 U+FFFF 1110xxxx 10xxxxxx 10xxxxxx
    4 21 U+10000 U+10FFFF 11110xxx 10xxxxxx 10xxxxxx 10xxxxxx

    The first 128 characters (US-ASCII) need one byte. The next 1,920 characters need two bytes to encode, which covers the remainder of almost all Latin-script alphabets, and also Greek, Cyrillic, Coptic, Armenian, Hebrew, Arabic, Syriac, Thaana and N’Ko alphabets, as well as Combining Diacritical Marks. Three bytes are needed for characters in the rest of the Basic Multilingual Plane, which contains virtually all characters in common use, including most Chinese, Japanese and Korean characters. Four bytes are needed for characters in the other planes of Unicode, which include less common CJK characters, various historic scripts, mathematical symbols, and emoji (pictographic symbols).

    Entities lookup for characters with special meaning in HTML

    Entity E Number N Description
    &amp; & &#38; & ampersand
    &gt; > &#62; > greater-than sign
    &lt; < &#60; < less-than sign
    &quot; " &#34; " quotation mark = APL quote

    Entities for punctuation characters

    Entity E Number N Description
    &cent; ¢ &#162; ¢ cent sign
    &curren; ¤ &#164; ¤ currency sign
    &euro; &#8364; euro sign
    &pound; £ &#163; £ pound sign
    &yen; ¥ &#165; ¥ yen sign = yuan sign
    &brvbar; ¦ &#166; ¦ broken bar = broken vertical bar
    &bull; &#8226; bullet = black small circle
    &copy; © &#169; © copyright sign
    &dagger; &#8224; dagger
    &Dagger; &#8225; double dagger
    &frasl; &#8260; fraction slash
    &hellip; &#8230; horizontal ellipsis = three dot leader
    &iexcl; ¡ &#161; ¡ inverted exclamation mark
    &image; &#8465; blackletter capital I = imaginary part
    &iquest; ¿ &#191; ¿ inverted question mark = turned question mark
    &lrm; &#8206; left-to-right mark (for formatting only)
    &mdash; &#8212; em dash
    &ndash; &#8211; en dash
    &not; ¬ &#172; ¬ not sign
    &oline; &#8254; overline = spacing overscore
    &ordf; ª &#170; ª feminine ordinal indicator
    &ordm; º &#186; º masculine ordinal indicator
    &para; &#182; pilcrow sign = paragraph sign
    &permil; &#8240; per mille sign
    &prime; &#8242; prime = minutes = feet
    &Prime; &#8243; double prime = seconds = inches
    &real; &#8476; blackletter capital R = real part symbol
    &reg; ® &#174; ® registered sign = registered trade mark sign
    &rlm; &#8207; right-to-left mark (for formatting only)
    &sect; § &#167; § section sign
    &shy; ­ &#173; ­ soft hyphen = discretionary hyphen (displays incorrectly on Mac)
    &sup1; ¹ &#185; ¹ superscript one = superscript digit one
    &trade; &#8482; trade mark sign
    &weierp; &#8472; script capital P = power set = Weierstrass p
    &bdquo; &#8222; double low-9 quotation mark
    &laquo; « &#171; « left-pointing double angle quotation mark = left pointing guillemet
    &ldquo; &#8220; left double quotation mark
    &lsaquo; &#8249; single left-pointing angle quotation mark
    &lsquo; &#8216; left single quotation mark
    &raquo; » &#187; » right-pointing double angle quotation mark = right pointing guillemet
    &rdquo; &#8221; right double quotation mark
    &rsaquo; &#8250; single right-pointing angle quotation mark
    &rsquo; &#8217; right single quotation mark
    &sbquo; &#8218; single low-9 quotation mark
    &emsp; &#8195; em space
    &ensp; &#8194; en space
    &nbsp;   &#160;   no-break space = non-breaking space
    &thinsp; &#8201; thin space
    &zwj; &#8205; zero width joiner
    &zwnj; &#8204; zero width non-joiner

    Entities for shapes and arrows

    Entity E Number N Description
    &crarr; &#8629; downwards arrow with corner leftwards = carriage return
    &darr; &#8595; downwards arrow
    &dArr; &#8659; downwards double arrow
    &harr; &#8596; left right arrow
    &hArr; &#8660; left right double arrow
    &larr; &#8592; leftwards arrow
    &lArr; &#8656; leftwards double arrow
    &rarr; &#8594; rightwards arrow
    &rArr; &#8658; rightwards double arrow
    &uarr; &#8593; upwards arrow
    &uArr; &#8657; upwards double arrow
    &clubs; &#9827; black club suit = shamrock
    &diams; &#9830; black diamond suit
    &hearts; &#9829; black heart suit = valentine
    &spades; &#9824; black spade suit
    &loz; &#9674; lozenge
    &#8984; command key
    &#8997; option key
    &#9774; Peace Symbol
    &#9775; yin yang

    Entities for accented characters, accents, and other diacritics from Western European Languages

    Entity E Number N Description
    &acute; ´ &#180; ´ acute accent = spacing acute
    &cedil; ¸ &#184; ¸ cedilla = spacing cedilla
    &circ; ˆ &#710; ˆ modifier letter circumflex accent
    &macr; ¯ &#175; ¯ macron = spacing macron = overline = APL overbar
    &middot; · &#183; · middle dot = Georgian comma = Greek middle dot
    &tilde; ˜ &#732; ˜ small tilde
    &uml; ¨ &#168; ¨ diaeresis = spacing diaeresis
    &Aacute; Á &#193; Á latin capital letter A with acute
    &aacute; á &#225; á latin small letter a with acute
    &Acirc; Â &#194; Â latin capital letter A with circumflex
    &acirc; â &#226; â latin small letter a with circumflex
    &AElig; Æ &#198; Æ latin capital letter AE = latin capital ligature AE
    &aelig; æ &#230; æ latin small letter ae = latin small ligature ae
    &Agrave; À &#192; À latin capital letter A with grave = latin capital letter A grave
    &agrave; à &#224; à latin small letter a with grave = latin small letter a grave
    &Aring; Å &#197; Å latin capital letter A with ring above = latin capital letter A ring
    &aring; å &#229; å latin small letter a with ring above = latin small letter a ring
    &Atilde; Ã &#195; Ã latin capital letter A with tilde
    &atilde; ã &#227; ã latin small letter a with tilde
    &Auml; Ä &#196; Ä latin capital letter A with diaeresis
    &auml; ä &#228; ä latin small letter a with diaeresis
    &Ccedil; Ç &#199; Ç latin capital letter C with cedilla
    &ccedil; ç &#231; ç latin small letter c with cedilla
    &Eacute; É &#201; É latin capital letter E with acute
    &eacute; é &#233; é latin small letter e with acute
    &Ecirc; Ê &#202; Ê latin capital letter E with circumflex
    &ecirc; ê &#234; ê latin small letter e with circumflex
    &Egrave; È &#200; È latin capital letter E with grave
    &egrave; è &#232; è latin small letter e with grave
    &ETH; Ð &#208; Ð latin capital letter ETH
    &eth; ð &#240; ð latin small letter eth
    &Euml; Ë &#203; Ë latin capital letter E with diaeresis
    &euml; ë &#235; ë latin small letter e with diaeresis
    &Iacute; Í &#205; Í latin capital letter I with acute
    &iacute; í &#237; í latin small letter i with acute
    &Icirc; Î &#206; Î latin capital letter I with circumflex
    &icirc; î &#238; î latin small letter i with circumflex
    &Igrave; Ì &#204; Ì latin capital letter I with grave
    &igrave; ì &#236; ì latin small letter i with grave
    &Iuml; Ï &#207; Ï latin capital letter I with diaeresis
    &iuml; ï &#239; ï latin small letter i with diaeresis
    &Ntilde; Ñ &#209; Ñ latin capital letter N with tilde
    &ntilde; ñ &#241; ñ latin small letter n with tilde
    &Oacute; Ó &#211; Ó latin capital letter O with acute
    &oacute; ó &#243; ó latin small letter o with acute
    &Ocirc; Ô &#212; Ô latin capital letter O with circumflex
    &ocirc; ô &#244; ô latin small letter o with circumflex
    &OElig; Œ &#338; Œ latin capital ligature OE
    &oelig; œ &#339; œ latin small ligature oe
    &Ograve; Ò &#210; Ò latin capital letter O with grave
    &ograve; ò &#242; ò latin small letter o with grave
    &Oslash; Ø &#216; Ø latin capital letter O with stroke = latin capital letter O slash
    &oslash; ø &#248; ø latin small letter o with stroke, = latin small letter o slash
    &Otilde; Õ &#213; Õ latin capital letter O with tilde
    &otilde; õ &#245; õ latin small letter o with tilde
    &Ouml; Ö &#214; Ö latin capital letter O with diaeresis
    &ouml; ö &#246; ö latin small letter o with diaeresis
    &Scaron; Š &#352; Š latin capital letter S with caron
    &scaron; š &#353; š latin small letter s with caron
    &szlig; ß &#223; ß latin small letter sharp s = ess-zed
    &THORN; Þ &#222; Þ latin capital letter THORN
    &thorn; þ &#254; þ latin small letter thorn
    &Uacute; Ú &#218; Ú latin capital letter U with acute
    &uacute; ú &#250; ú latin small letter u with acute
    &Ucirc; Û &#219; Û latin capital letter U with circumflex
    &ucirc; û &#251; û latin small letter u with circumflex
    &Ugrave; Ù &#217; Ù latin capital letter U with grave
    &ugrave; ù &#249; ù latin small letter u with grave
    &Uuml; Ü &#220; Ü latin capital letter U with diaeresis
    &uuml; ü &#252; ü latin small letter u with diaeresis
    &Yacute; Ý &#221; Ý latin capital letter Y with acute
    &yacute; ý &#253; ý latin small letter y with acute
    &yuml; ÿ &#255; ÿ latin small letter y with diaeresis
    &Yuml; Ÿ &#376; Ÿ latin capital letter Y with diaeresis

    Entities for mathematical and technical characters (including Greek)

    Entity E Number N Description
    &deg; ° &#176; ° degree sign
    &divide; ÷ &#247; ÷ division sign
    &frac12; ½ &#189; ½ vulgar fraction one half = fraction one half
    &frac14; ¼ &#188; ¼ vulgar fraction one quarter = fraction one quarter
    &frac34; ¾ &#190; ¾ vulgar fraction three quarters = fraction three quarters
    &ge; &#8805; greater-than or equal to
    &le; &#8804; less-than or equal to
    &minus; &#8722; minus sign
    &sup2; ² &#178; ² superscript two = superscript digit two = squared
    &sup3; ³ &#179; ³ superscript three = superscript digit three = cubed
    &times; × &#215; × multiplication sign
    &alefsym; &#8501; alef symbol = first transfinite cardinal
    &and; &#8743; logical and = wedge
    &ang; &#8736; angle
    &asymp; &#8776; almost equal to = asymptotic to
    &cap; &#8745; intersection = cap
    &cong; &#8773; approximately equal to
    &cup; &#8746; union = cup
    &empty; &#8709; empty set = null set = diameter
    &equiv; &#8801; identical to
    &exist; &#8707; there exists
    &fnof; ƒ &#402; ƒ latin small f with hook = function = florin
    &forall; &#8704; for all
    &infin; &#8734; infinity
    &int; &#8747; integral
    &isin; &#8712; element of
    &lang; &#9001; left-pointing angle bracket = bra
    &lceil; &#8968; left ceiling = apl upstile
    &lfloor; &#8970; left floor = apl downstile
    &lowast; &#8727; asterisk operator
    &micro; µ &#181; µ micro sign
    &nabla; &#8711; nabla = backward difference
    &ne; &#8800; not equal to
    &ni; &#8715; contains as member
    &notin; &#8713; not an element of
    &nsub; &#8836; not a subset of
    &oplus; &#8853; circled plus = direct sum
    &or; &#8744; logical or = vee
    &otimes; &#8855; circled times = vector product
    &part; &#8706; partial differential
    &perp; &#8869; up tack = orthogonal to = perpendicular
    &plusmn; ± &#177; ± plus-minus sign = plus-or-minus sign
    &prod; &#8719; n-ary product = product sign
    &prop; &#8733; proportional to
    &radic; &#8730; square root = radical sign
    &rang; &#9002; right-pointing angle bracket = ket
    &rceil; &#8969; right ceiling
    &rfloor; &#8971; right floor
    &sdot; &#8901; dot operator
    &sim; &#8764; tilde operator = varies with = similar to
    &sub; &#8834; subset of
    &sube; &#8838; subset of or equal to
    &sum; &#8721; n-ary sumation
    &sup; &#8835; superset of
    &supe; &#8839; superset of or equal to
    &there4; &#8756; therefore
    &Alpha; Α &#913; Α greek capital letter alpha
    &alpha; α &#945; α greek small letter alpha
    &Beta; Β &#914; Β greek capital letter beta
    &beta; β &#946; β greek small letter beta
    &Chi; Χ &#935; Χ greek capital letter chi
    &chi; χ &#967; χ greek small letter chi
    &Delta; Δ &#916; Δ greek capital letter delta
    &delta; δ &#948; δ greek small letter delta
    &Epsilon; Ε &#917; Ε greek capital letter epsilon
    &epsilon; ε &#949; ε greek small letter epsilon
    &Eta; Η &#919; Η greek capital letter eta
    &eta; η &#951; η greek small letter eta
    &Gamma; Γ &#915; Γ greek capital letter gamma
    &gamma; γ &#947; γ greek small letter gamma
    &Iota; Ι &#921; Ι greek capital letter iota
    &iota; ι &#953; ι greek small letter iota
    &Kappa; Κ &#922; Κ greek capital letter kappa
    &kappa; κ &#954; κ greek small letter kappa
    &Lambda; Λ &#923; Λ greek capital letter lambda
    &lambda; λ &#955; λ greek small letter lambda
    &Mu; Μ &#924; Μ greek capital letter mu
    &mu; μ &#956; μ greek small letter mu
    &Nu; Ν &#925; Ν greek capital letter nu
    &nu; ν &#957; ν greek small letter nu
    &Omega; Ω &#937; Ω greek capital letter omega
    &omega; ω &#969; ω greek small letter omega
    &Omicron; Ο &#927; Ο greek capital letter omicron
    &omicron; ο &#959; ο greek small letter omicron
    &Phi; Φ &#934; Φ greek capital letter phi
    &phi; φ &#966; φ greek small letter phi
    &Pi; Π &#928; Π greek capital letter pi
    &pi; π &#960; π greek small letter pi
    &piv; ϖ &#982; ϖ greek pi symbol
    &Psi; Ψ &#936; Ψ greek capital letter psi
    &psi; ψ &#968; ψ greek small letter psi
    &Rho; Ρ &#929; Ρ greek capital letter rho
    &rho; ρ &#961; ρ greek small letter rho
    &Sigma; Σ &#931; Σ greek capital letter sigma
    &sigma; σ &#963; σ greek small letter sigma
    &sigmaf; ς &#962; ς greek small letter final sigma
    &Tau; Τ &#932; Τ greek capital letter tau
    &tau; τ &#964; τ greek small letter tau
    &Theta; Θ &#920; Θ greek capital letter theta
    &theta; θ &#952; θ greek small letter theta
    &thetasym; ϑ &#977; ϑ greek small letter theta symbol
    &upsih; ϒ &#978; ϒ greek upsilon with hook symbol
    &Upsilon; Υ &#933; Υ greek capital letter upsilon
    &upsilon; υ &#965; υ greek small letter upsilon
    &Xi; Ξ &#926; Ξ greek capital letter xi
    &xi; ξ &#958; ξ greek small letter xi
    &Zeta; Ζ &#918; Ζ greek capital letter zeta
    &zeta; ζ &#950; ζ greek small letter zeta

    06 Text Formatting


    Text is how the characters are arranged in the flow. This includes writing direction to accommodate languages other than English, so that the inline progression of the text can orient its flow from left-to-right, right-to-left, or top-to-bottom. There are a lot of controls for writing other languages that are not necessary for writing in English. We are going to stick with English.

    Many of the properties control flow. Properties such as white space, padding, margin and line hight are not text-properties, but inform how the text is to flow. Instead of using multiple<br> to add space before or after, you add padding or margin.


    Paragraph Alignment and First Line Indent

    To control the text’s alignment, use: text-align: (start, end, left, right, center, justify). As different text flow directions push what right and left can mean, there has been a move to adopt start and end as the nomenclature instead of left and right.

    To specify the first line indent, use: text-indent: and supply a length or a percentage. It will be a negative indent if you supply a negative value.

    CSS Code View

    Paragraph Alignment and First Line Indent

    You can change the alignment of this header, this paragraph and the attribution by changing the alignment property

    — onno

    Someday soon there will be more control over justified text, as the CSS3 specifications for that are already in place. You will then be able to specify how text is to be justified: text-justify auto, lose, distributed and how the last line will be justified: text-last-line auto, start, end, center, justify, but the browsers have yet to implement these justification controls.


    The Text Overflow Property

    When there is too much text for the box, it is possible to specify the text overflow mode — if, and only if the box also has the overflow property — text-overflow:clip, ellipsis, ellipsis-word. Try removing the overflow property and the text-overflow property breaks down.

    CSS Code View

    Hover over this line of text and the remaining text will appear blue.

    Hover over this line of text and the remaining text will appear red


    Text Spacing, Vertical Alignment and Leading

    The ability to control the spacing between Letters, otherwise known as tracking, and words is easily accomplished, but know that the controls are a bit course for small text sizes. The increments are based on the character’s rendering, and that depends on the screen in use. Some of the high resolution displays will provide better controls than what are currently considered normal resolution displays.

    The vertical alignment of characters, or superscript and subscript, is done with the vertical-align property, using the following values: baseline, sub, super, top, text-top, middle, bottom, text-bottom, percentage and length. Super and text-top are set to around 75% of the line-height. You can specify a percentage beyond that, but doing so will increase the leading for that line. Put in a value of 200% and you will see what I mean.

    Leading is specified by either relative or an absolute measurement with the line-height property. Relative measurements are based on the em that has been specified for the type, while a height in pixels is absolute, and do not change with changes in the size of the text.

    CSS Code View

    Text Layout Properties

    Change the text by applying different styles. Notice that when you make a mistake, the style reverts to the default style. The 1st element is h3. The 2nd and 3rd elements are p. The 2nd p element can be selected separately and given styling in addition to the style determined by the more general p selector.

    Being able to select different elements is the key to using CSS. The roll of the selector is, for that reason, extremely important, but it usually takes a little while before students learning about CSS get a handle on just how they work. While it is easy enough to see in simple examples, the selectors, the cascade that determines them, and the inheritance of the different properties keeps web designers on their toes. Leave out one character and the whole thing can come crashing down.


    Paragraph Spacing

    Paragraph spacing is accomplished through padding and margins. Space before and space after is padding: 10px 0. The left margin is also controlled by padding or margins, and the right margin can be controlled by the paragraph width in addition to padding and margins.

    CSS Code View

    Paragraph spacing is accomplished through padding and margins. Space before and space after is . The left margin is also controlled by padding or margins, and the right margin can be controlled by the paragraph width in addition to padding and margins.

    Paragraph spacing is accomplished through padding and margins. Space before and space after is . The left margin is also controlled by padding or margins, and the right margin can be controlled by the paragraph width in addition to padding and margins.

    Do not forget the p + p rule, for subsequent paragraph behavior, and first line rule. and first character pseudo class selections.


    Text Decoration, Text Transform, Text Shadow and Text Stroke

    Though these properties affect the individual character more than the flow of characters, they belong to text and not font properties. The text-decoration: none; property/value combination is most often used to remove the default underline from links. Text decoration is used to add an underline, overlain or strike-through to the text.

    CSS3 adds the ability to isolate the different parts of this property, and once it becomes adopted, will allow for individual adjustment of style, color and location of the line.

    The text-transform property sets the text to lowercase or uppercase.

    It is also possible to put a shadow on the text itself using the text-shadowproperty with the following value: length, length, length, color; where the first two values are the horizontal and vertical distance, the next value is the size of the blur and then comes the color.

    Last but not least is the ability in CSS3 to add a text stroke. This is not yet supported by all browsers, but will soon be: text-stroke: width, color;

    CSS Code View

    Text Style Properties


    White Space

    White space processing and line feed behavior are ubiquitous defaults that determine the behavior of how text flows in an HTML document. The default behavior is to collapse multiple spaces into one space and to ignore returns. Some of the tags, like <pre> do make use of a change in whitespace, rendering the text as it is written, preserving multiple white spaces and line feeds. I use the <pre> in the CSS code view for that purpose, for example.

    You can change the white space defaults by changing the value of the white-space-treatment property: ignore, preserve, ignore-if-before-linefeed, ignore-if-after-linefeed, ignore-if-surrounding-linefeed . The same is true of line feeds (or carriage returns, remember the type writer?) with the linefeed-treatment property: auto, ignore, preserve, treat-as-space, treat-as-zero-width-space, ignore-if-after-linefeed. The shorthand for white space processing is the white-space property and the values are: normal, pre, nowrap, pre-wrap, pre-lines.

    CSS Code View

    White Space and Line Return Demo

    The space in default white-space collapses and returns are ignored. Change that default behavior. #space h3{ letter-spacing: .1em; word-spacing: .1em; } #space p { white-space: pre; }

    Change the white-space from normal to pre or pre-wrap and you’ll see the text as it is in the HTML text editor, with soft-wrap off or, as in this example, on:

    White Space and Line Return Demo

    The space in default white-space collapses and returns are ignored. Change that default behavior. #space h3{ letter-spacing: .1em; word-spacing: .1em; } #space p { white-space: pre; }


    Hyphenation and Justification

    Hyphenation has arrived with CSS3, but Chrome does not support it. Safari and Firefox require prefixes. Manual hyphenation is accomplished by inserting a conditional soft hyphen U+00AD or &shy;.

    In auto mode, words may be broken at appropriate hyphenation points as determined by the conditional soft hyphen character or automatically by the browser using a hyphenation resource.

    CSS Code View

    It is also possible to hyphenate text for improved justification using javascript. Download hyphenator.js and it can prepare your text for justification on the fly. For more information, read the List Apart article, The Look that Says Book.

    Kerning Pairs & Ligatures

    The text-rendering property improves kerning pairs & ligatures using text-rendering to optimize legibility.

    CSS Code View