Jeffrey Zeldman

Web design news and insights since 1995

Updated: 1 hour 6 min ago

E-books, Flash, and Standards

5 hours 39 min ago

In Issue No. 302 of A List Apart for people who make websites, Joe Clark explains what E-book designers can learn from 10 years of standards-based web design, and Daniel Mall tells designers what they can do besides bicker over formats.

Web Standards for E-books

by Joe Clark

E-books aren’t going to replace books. E-books are books, merely with a different form. More and more often, that form is ePub, a format powered by standard XHTML. As such, ePub can benefit from our nearly ten years’ experience building standards-compliant websites. That’s great news for publishers and standards-aware web designers. Great news for readers, too. Our favorite genius, Joe Clark, explains the simple why and how.

Flash and Standards: The Cold War of the Web

by Daniel Mall

You’ve probably heard that Apple recently released the iPad. The absence of Flash Player on the device seems to have awakened the HTML5 vs. Flash debate. Apparently, it’s the final nail in the coffin for Flash. Either that, or the HTML5 community is overhyping its still nascent markup language update. The arguments run wide, strong, and legitimate on both sides. Yet both sides might also be wrong. Designer/developer Dan Mall is equally adept at web standards and Flash; what matters, he says, isn’t technology, but people.

Illustration by Kevin Cornell for A List Apart.

Future of Online News

Mon, 03/08/2010 - 20:04

Many website designers run their own niche blog, and if the content is unique enough, a designer might be able to sell subscriptions to it. The content has to be very high quality, though, and few design blogs meet that standard.

A List Apart is one that does, and it could potentially turn a profit selling subscriptions. But the subscription route is a risky move because it alienates many users and shrinks ad revenue substantially.

Jeffrey Zeldman, publisher, founder and executive creative director of A List Apart, gives two reasons why A List Apart does not put its content behind a paywall:

It’s against our belief in free online content.
It wouldn’t work unless our competitors also put their content behind a paywall. We appeal to a discerning base of web designers, but if we went behind a paywall, it would be as if we had stopped publishing. Our readers would turn elsewhere.”

More at What Is the Future of Online News? | Webdesigner Depot.

Zeldman on Publishing

Mon, 03/08/2010 - 01:18

P Is for Publishing. And publishing, as you’ve heard, is dying. … But “the printed word will be around long after many of our digital creations are gone,” Zeldman says, “either because books don’t require monthly hosting and blogs and websites do … or because the languages and platforms for which a particular digital creation was published will become obsolete.”

…[Jason,] Mandy and I are about to launch a printed book series, called A Book Apart, which derives much of its thinking and some of its formatting from what we’ve learned about PDFs in the past 10 years,” says Zeldman. The Mandy he mentions is Mandy Brown, creative director of Etsy and former creative director at W.W. Norton & Co.; she’s also one of the people speaking on the New Publishing and Web Content panel that Zeldman’s organizing for this year’s Interactive Fest, along with Happy Cog’s Erin Kissane, Harper’s Magazine editor (and Harper’s website creator) Paul Ford, and Lisa Holton, founder of new-media company Fourth Story Media.

…Everyone on the panel is committed to the digital future,” Zeldman says. “But we are also all committed to the book.” And how will their—how will our—relationships to books change, and how will those relationships remain the same, as the digitization of printed matter proceeds faster than most chain saws can spin? “How,” asks Zeldman, “can we be truthful and wise as editors, publishers, writers, journalists, and marketers straddling this scary yet exhilarating new divide?

Print & Paper Über Alles: A more perfect publishing today, Wayne Alan Brenner, Austin Chronicle (SXSW cover story), March 5, 2010

Austin Chronicle, SXSW Interactive Guide
Books Not Dead: “New Publishing and Web Content” Panel Details at zeldman.com
Panel Details at SXSW.com: New Publishing and Web Content, Saturday, March 13, 2010, 5:00 PM, Ballroom A, SXSW Interactive Festival, Austin, TX
Happy Cog Studios: A Book Apart mini-announcement

Photo courtesy John Morrison.

Van Damme, that’s good design

Thu, 03/04/2010 - 20:29

Web designer Tim Van Damme, founder of Made by Elephant and blogger at Max Voltar, has skyrocketed from relative oblivion to comparative fame in little over a year. Before you succumb to jealousy, consider the man’s work. Consider, for example, his spanking new redesign of Gowalla, Austin-headquartered AlamoFire’s nifty, location-based social networking game for iPhone, Android, and even newer Blackberry devices (kind of).

Launched as a public beta in March 2009, Gowalla “uses a large catalog of virtual goods to encourage its users to go places and meet people.”

Seven years ago I was a cigarette smoker. Today I’m a compulsive Gowalla user. I check in at the corner deli, at the library, and at the movies. I check in when I get to my studio in the morning and first thing when I get home at night. (Well, maybe eighth thing when I get home—I have an active five-year-old and a sick dog to take care of first.)

I love Gowalla and now I love its website just as much as I love the application, thanks to the stylish skinning of young Master Van Damme.

Note that I haven’t mentioned content strategy, labels, user flow, error handling, and all the other things that go into most good redesigns. I haven’t mentioned those things because this redesign is mainly a skin job. Alamofire designed a great brand and crafted a fine piece of user experience (not to mention a host of kick-ass icons) well before involving Tim Van Damme. So the challenge here was to take a strongly branded, well-thought-out, existing site with a fanatical user base and an already super-strong visual identity, and to make it that much better.

He met the challenge, and then some. I wish I possessed before and after screen shots to show how and why the redesign trumps its predecessor without scrapping what users like me loved about the old look and feel. Aside from the one big change (a light green background that feels like a translucent overlay over the previous background), it’s all about the details here, and the details are primarily tiny enhancements to the user experience—from subtle glows that make the interface feel more responsive (more alive), to WordPress- and Mail-style numeric indicators that cue users when there’s new content behind a tab.

This is good design, the test of which, for me, is always that I wish I’d done it.

Digital books: the medium changes the message

Thu, 03/04/2010 - 19:56

“Content with form—Definite Content—is almost totally the opposite of Formless Content. Most texts composed with images, charts, graphs or poetry fall under this umbrella. It may be reflowable, but depending on how it’s reflowed, inherent meaning and quality of the text may shift.”

—Craigmod, Books in the Age of the iPad

Viva Gonçalves!

Tue, 03/02/2010 - 23:40

André Gonçalves is a graphic designer and this is his website. ♥

Girl in the Abstract Bed

Tue, 03/02/2010 - 00:18

via drawger.com

Model Site

Mon, 03/01/2010 - 19:28

Web designer Joshua Lane, currently best know for doing fancy web stuff at Virb.com, has overhauled his personal site in ways that are aesthetically pleasing and visually instructive.

Like all good site redesigns, this one starts with the content. Whereas the recent zeldman.com redesign emphasizes blog posts (because I write a lot and that’s what people come here for), Lane’s redesign appropriately takes exactly the opposite approach:

There is a much smaller focus on blog posts (since I don’t write often), and a much larger focus on the things I do elsewhere (Twitter, Flickr, Last.fm etc). Individually, I don’t contribute a great deal to each of those services. But collectively, I feel like it’s a good amount of content to showcase (as seen on the home page). And something that feels like a really good representation of “me.”

Not one to ignore the power of web fonts, Lane makes judicious use of Goudy Bookletter 1911 from The League of Movable Type, an open-source type site founded by Caroline and Micah, featuring only “well-made, free & open-source, @font-face ready fonts.” (Read their Manifesto here.)

The great Barry Schwartz based his Goudy Bookletter 1911 on Frederic Goudy’s Kennerley Oldstyle, a font Schwartz admires because it “fits together tightly and evenly with almost no kerning.” Lane inserts Schwartz’s open-source gem via simple, standards-compliant CSS @font-face. Because of its size, it avoids the secret shame of web fonts, looking great in Mac and Windows.

But considered type is far from the redesigned site’s only nicety. Among its additional pleasures are elegant visual balance, judicious use of an underlying horizontal grid, and controlled tension between predictability and variation, ornament and minimalism. Restraint of color palette makes photos, portfolio pieces, and other featured elements pop. And smart CSS3 coding allows the designer to play with color variations whenever he wishes: “the entire color scheme can be changed by replacing a single background color thanks to transparent pngs and rgba text and borders.”

In short, what Lane has wrought is the very model of a modern personal site: solid design that supports content, backed by strategic use of web standards.

New Franklin in Town

Mon, 03/01/2010 - 18:36

There’s a new Franklin in town. It’s TeeFranklin, designed by Tomi Haaparanta for T26. Haaparanta specializes in what we used to call grunge fonts, but you’d never know from his Franklin, which is classic and pure. In terms of available weights and styles (not to mention fanatical attention to detail), Haaparanta’s new font can’t compare to Font Bureau’s ITC Franklin, but TeeFranklin is a nice and clean, and comes in 14 weights, which may be enough. Better still, according to reader Ethan Dunham, it is licensed for @font-face embedding.

New Slab in Town

Sun, 02/28/2010 - 23:11

via typographyserved.com

Betting on the web

Sun, 02/28/2010 - 03:58

Must-read analysis at Daring Fireball anatomizes the “war” between Flash and web standards as a matter of business strategy for companies, like Apple and Google, that build best-of-breed experiences atop lowest-common-denominator platforms such as the web:

It boils down to control. I’ve written several times that I believe Apple controls the entire source code to iPhone OS. (No one has disputed that.) There’s no bug Apple can’t try to fix on their own. No performance problem they can’t try to tackle. No one they need to wait for. That’s just not true for Mac OS X, where a component like Flash Player is controlled by Adobe.

I say what Apple cares about controlling is the implementation. That’s why they started the WebKit project. That’s why Apple employees from the WebKit team are leaders and major contributors of the HTML5 standards drive. The bottom line for Apple, at the executive level, is selling devices. … If Apple controls its own implementation, then no matter how popular the web gets as a platform, Apple will prosper so long as its implementation is superior.

Likewise with Google’s interest in the open web and HTML5. … So long as the web is open, Google’s success rests within its own control. And in the same way Apple is confident in its ability to deliver devices with best-of-breed browsing experiences, Google is confident in its ability to provide best-of-breed search results and relevant ads. In short, Google and Apple have found different ways to bet with the web, rather than against the web.

Related posts, on the off-chance you missed them:

Flash, iPad, and Standards (zeldman.com, 1 Feb 2010)
[Untitled post on Tomorrow's Computing Systems] (stevenf, no date given)
Semantic Flash, Slippery When Wet (Daniel Mall, A List Apart, 26 February 2007)
On The iPad (Alex Payne, 28 January 2010)

The First Time

Sat, 02/27/2010 - 17:06

A friend’s young son had just used the toilet and wiped himself for the first time.

She congratulated him on being a big boy.

To which he replied:

“Mother. Surely you don’t expect me to do this for the rest of my life.”

Doctorow on Pricing

Fri, 02/26/2010 - 21:12

In Publishers Weekly, blogger, novelist, and bon vivant Cory Doctorow discusses price discrimination(“the idea that you make more money by segmenting your customers based on how much they’re willing to spend”) and demand elasticity (“the straightforward idea that new customers will come into your shop if you lower prices”) and the roles played by hardcover and paperback, Kindle and iPad, Amazon and publishers in the future of book publishing.

With a Little Help: The Price Is Right – 2010-02-15 05:00:00 | Publishers Weekly

Keming

Fri, 02/26/2010 - 19:07

via zazzle.com

Mid-Century Modern

Fri, 02/26/2010 - 05:12

via blog.wanken.com

From Does This Zeldman Make My Posterous Look Fat?

You cannot copyright a Tweet

Thu, 02/25/2010 - 15:21

Contrary to popular belief and Twitter’s terms of service, you cannot copyright a Tweet. Under US law, copyright is granted on publication to “original works of authorship” finalized in “fixed forms of expression” but this does not extend to names, titles, or short phrases (PDF).

As messages sent via Twitter cannot be longer than 140 characters, they cannot be copyrighted. However original, witty, or profound they may be, nothing more than good manners protects your original expression of authorship. If you wish to let other people quote or use your Tweets, you need not “license” them; indeed, technically, you cannot license them, since they are in the public domain the instant you publish them.

If you write a clever Tweet and wish to assert ownership (and if money is no object), you may apply for a trademark. Good luck with that.

Otherwise, your Tweets are like the air. Anyone can do anything like to them, including quoting them with or without your permission. If an enterprising company wants to take something you said on Twitter and slap it on a tee shirt, they may do so. If a gent of the disturbed persuasion wants to engrave your tweet into a 600-foot swastika, he may do so.

If this disturbs you, suck it up, or stop using Twitter—or mark your Twitter feed as private. This will not copyright your Twitter mutterings but it will keep many people from seeing them.

If it deeply disturbs you (and money is no object), mount a case to change the law.

Me, I plan to use Twitter forever. And any party so inclined may make a whistle of my Tweets. But my saying so here is irrelevant because you cannot copyright a Tweet.

Update: Comments are now closed, but you may read what others had to say. Thanks to all for a lively and illuminating discussion.

Pixen: Bitmap Graphics in Style

Thu, 02/25/2010 - 06:46

via opensword.org

Pixen is an innovative graphics editor for the Mac. It’s designed from top to bottom for pixel artists—people who make low-resolution raster art like the sprites you see in old video games. But it’s great for artists of all arenas: Pixen is like a very powerful MSPaint or a simpler, more agile Photoshop. And best of all, it’s Free!

Posted via web from Does This Zeldman Make My Posterous Look Fat?

David Berlow Type Specimens

Thu, 02/25/2010 - 05:21

“A collection of David Berlow’s prolific typographic work as co-founder of Font Bureau is showcased in this impressive booklet, a celebration of him receiving the Society of Typographic Aficionados (SoTA) Typography Award in 2007. Specimen pages show styles of each family for easy comparison of weight, width, copyfit and aesthetic.”