In the early days of CSS-based design, square corners were a hallmark of designs that focused on simplicity of code, rather than visual aesthetics. Rounded corners remained somewhat painful to use, however, until the emergence of support for creating them using the border-radius property of CSS3. Now it takes only a few lines of simple CSS code to have nicely rounded corners—as long as you can accept that many users will see square corners until they move on to more modern browsers.
A Book Apart, the young book-publishing arm of the organization behind A List Apart and An Event Apart, has just released CSS3 for Web Designers, by Dan Cederholm, as a guide to CSS3 from the "what's really useful right now" perspective. As with the company's first book, HTML5 for Web Designers, this orientation, combined with an expert author, takes a large, complex subject and reduces it to a small, readable book.
Creating interesting podcasts for web designers is challenging. There’s been a few that I've enjoyed that have come and gone, such as Boagworld, which promises to be reborn next year with a much more focused format. My favorite web design podcast this year has been the Big Web Show, created by Dan Benjamin and Jeffery Zeldman.
Khoi Vinh's new book, Ordering Disorder: Grid Principles for Web Design, has just been released. It's a great addition to the web design literature.
We've spent our waking hours, and then some, for the past few years helping designers build great sites. Along the way, we've learned a lot from everyone we've worked with. We also find, as you might imagine, a wide range of beliefs and practices that don't serve either the designers or their customers, but linger because we're all living in such a complex, fast-changing world.
The web is a publishing and marketing medium unlike any that has existed before. I would think this would go without saying, except for the attitudes and behaviors we see all the time, which reveal that many site owners don't really get it.
Many designers say they’re the most effective when they spend most of their time on design, not implementation. But your clients want working sites, not paintings (i.e., Photoshop files) of them. There’s a lot of technology involved in translating your design into a working, modern web site.
In my previous post on using real fonts on the web, I highlighted a few web font service bureaus. These services seem to be proliferating like rabbits, and in this post I'll mention a few more.
In my previous post, I explained how CSS's @font-face tag enables designers to use a wider range of fonts without resorting to font replacement hacks. In this post, I'll explain the actual code and explore some of the services that make it easy to expand your web font repertoire.
Typography on the web has long suffered in comparison to print. The biggest limitation has been the limited number of fonts that a designer can use. It's still messy, but it is now possible to use a much wider range of fonts.