cazmockett.com

Next up was Mark Boulton, who wanted us to work with typography in a better way.

• Be Appropriate & Adaptable
  Typefaces tell stories, and the web is still playing catchup with this power. Comic Sans is appropriate for the menu at a greasy spoon cafe; you wouldn’t want an invitation to a Black Tie event done in it though. Similarly, the BBC’s use of Gill Sans evokes order and authority. The BBC logo has a twist – by reversing the type and blocking out the shapes of Gill Sans.
  Don’t let type and design get in the way of words.
  Be adaptable to requirements, and appropriate for the story.
• Use Rhythm
  Richard Rutter’s Compose To A Vertical Rhythm explains about using the line height and leading of your blocks of text to best advantage. The basic theory goes: 12px font height with 18px between lines, give a line height of 1.5. You can use incremental leading to make 4 lines of text in the main body of a page line up with 5 lines of text in a sidebar.
  [Text in the sidebar bears no relation to the main body copy. It looks messy.]
  The maths gets a bit hairy: 18px x 4 lines = 72px for the main body. 72px ÷ 5 lines = 14.4px for the sidebar
  If you’re using 10px height for your sidebar text, 14.4 ÷ 10px = 1.44 line height. You may find the sidebar top-margin property needs a bit of tweaking to get it to line up properly.
  [This looks much better now everything is aligned vertically]
• Optical Grey
  If you squint at a block of text, you’ll see the page has different tonal ranges depending on font, leading, letter spacing etc.
  Verdana has a more open shape, so is paler at smaller sizes.
  Combining serif and sans-serif fonts can be effective, giving different “colours”. Minimize dark grey and balance the line height.
• Use The Right Tools For The Job
  Hyphens “-” are NOT em dashes!! “—”. Use an em — or en – where appropriate.
• Use a Grid System
  Use grids as a tool to help you organise information. How to decide how big the grid unit should be? You can subdivide the units too – you might have a 3em high by 4.5em wide block, which divides nicely into 2×3 squares each of 1.5em width and height.
  Choose gutter sizes carefully, it can depend on the relationship between whitespace and font size.
  Using Alternate Row colours in tables must be done with care – don’t use colours which are too strong.
  Set type to your grid, and align everything! The smallest error can really stick out.

In Summary
Typography is all about the details. Tiny increments can make a huge difference. The full slides are available at Mark’s website.

Dan Cederholm took us through the various elements of interface design that a good juggler should be able to “keep in the air”.

[Dan and his interface-juggling octopus]

Colour
Colour evokes an emotional response in the viewer, and we need to be careful when choosing a palette. At Wellstyled.com, there’s a handy widget for generating complimentary colour schemes. Try it out.

Dan had mocked up a site especially to demonstrate some of his points – go have a giggle over at ToupéePal!

One good way of choosing a palette is by taking shades from a photo – either sample direstly, or pixellate it and use some of the blocks. Dan often starts with colour as the inspiration for a site and works from there. He will re-use certain strategic colours throughout a site, eg Links, headings etc. The colour used for links will always carry weight in the design.

Typography
Great typography is actually invisible – we don’t notice it. But do it badly and it sticks out like a sore thumb. He recommended the article, Web Design is 95% Typography to read.

There are a limited number of fonts we can realistically guarantee a user having on their system, but within these constraints, we can still get creative. Try using the text-transform uppercase or lowercase styles, change the letterspacing, text-align, leading etc to vary the typographical colour of a block of text. Good reading: “The Elements of Typographical Style” by Robert Bringhurst, if you can find it. Read more on applying it to the web here.

Favicons
Could be regarded as the most important design element on your site! They are the thing that represents it in the shortcut icon, browser address bar etc.

[Subtraction.com uses each site's favicon as shorthand branding for the link]

So when creating a favicon, it has to be something memorable. They must:

• Scale well down to 16×16 pixels
• If the whole logo doesn’t work, choose a fragment to focus on
• Use something unique about the site that still ties in with the branding

Icon files can be made with Iconographer or a plugin for Photoshop. As well as the standard 16×16 icon, 32×32 and 64×64 pixel icons can be inserted into the same .ico file. There’s an interesting collection of Favicons at Delta Tango Bravo’s blog.

Add Detail But Not Complexity
Understand the limitations of the browser, and suggest the box [model] but with minimal suggestions. Perhaps use just one rounded corner on an element. Re-use graphic elements where you can.

Microformats
If you site contains any sort of contact information, events lists, reviews or relationships, then you should be marking them up with Microformats. Using what works today can encourage others to do the same:

[The Microformats can be used by people, applications and as hooks for CSS]

Brian Suda did some parsing of Cork’d for Microformats, and used this information to add wine reviews (from Cork’d) to his Scrugy site, where you can learn all about wine. Corkd’s Microformats had produced an accidental API. If you were to mash this up with a list of your XFN friends, you could use it as a filter for just returning reviews from your trusted sources.

This was a bit of light-hearted fun, with two heavyweights standing in opposing corners and trying to convince us their point of view was right.

[the protagonists on the podium]

In The Design Corner – Mr Simon Collison
The Design Manifesto went thus:

• Visual design is not complex engineering
• Design interfaces visually, don’t be afraid to take risks
• Reserve the right to veto decisions of technologists
• Think, build & design organically
• Don’t pander to personal prefereneces
• Deliver a rich, considered visual experience for all
• Be expressive with web typography
• Layout decisions are the preserve of the designer
• Visual design makes the first impression – respect it!
• Build everything in Flash (not really)

[Evil Drew - New Implementation, New Danger!]

In The Implementation Corner – Mr Drew McLellan
It all started with nxoc01.cern.ch, the very first web server. Drew said we were all implementers, and as such, we needed to know our enemies:

• Fixed width layouts
• Flash for non-media presentation
• (Flash breaks the basic nature of the web when used for anything other than a player for graphics or audio, and each Flash player instance impacts on performance of the browser)
• Text replacement, since text on a web page is a solved problem
• Styled form elements
• Potent GETs
• Controlled heights
• Controlled text size
• Colour schemes and low contrast
• The user agent
• The FOLD – THERE IS NO FOLD since we never know where it’s going to be from one browser/user to the next!!

[Drew gets all fervant and placard-wavey saying There Is No Fold]

Conclusion
Of course, we all know that life’s not so black and white, and at different times, we may have to sit in different camps. So it was a nice way of stimulating some light-hearted debate, but there’s definitely no “right” answer on this one!