AS EVERY WEB DESIGNER not living under a rock hopefully already knows, The Boston Globe has had a responsive redesign at the hands of some of today’s best designers and developers:

The spare Globe website has a responsive design that adapts to different window sizes, browsers and devices, and it has a built-in Instapaper-type feature that saves articles for reading off various devices on the subway. The overhaul has incorporated the talents of Boston design firms Filament Group, and Upstatement, as well as a large internal team, and pre-empts the need to build separate apps for each device.—New York Observer

As the first responsive redesign of a “real” website (i.e. a large, corporately financed, widely read newspaper site rather than some designer’s blog), the site has the potential to raise public awareness of this flexible, standards-based, multi-platform and user-focused web design approach, and deepen perceptions of its legitimacy, much as Mike Davidson’s standards-based redesign of ESPN.com in 2003 helped convince nonbelievers to take a second look at designing with web standards:

In a major step in the evolution of website design, the Boston Globe relaunched their site today using a Responsive Design approach. For a consistent experience across mobile and desktop browsers, they redesigned the site to add and remove columns to the layout based on the width of your browser window.

This marks the first major, high-traffic, content-heavy website to adopt a responsive design. The lead consultant behind the project is none other than Ethan Marcotte, the designer who wrote the book on responsive design. Much as ESPN changed the way we worked by being one of the first to launch a fully CSS driven site a decade ago, the Boston Globe’s redesign has the potential to completely alter the way we approach web design.—Beaconfire Wire

More work remains to be done. Some sections of the paper have not yet converted, and some site architecture has yet to be refreshed, so it is too early to call the overhaul a complete success. But it is clear that Ethan Marcotte, author of Responsive Web Design and creator of responsive design, together with the geniuses at Filament Group, Upstatement, and the Globe’s internal design/development team have managed to work beautifully together and to solve design problems some of us don’t even know exist.

Congratulations to the Globe for its vision and these designers and developers for their brilliant work.

Lukas Mathis:

The goal is not to make your user interface as realistic as possible. The goal is to add those details which help users identify what an element is, and how to interact with it, and to add no more than those details.

Great post by Mathis for the UX Magazine.

∞

Captured from Twitter, here is Tom Henrich’s partial reconstruction of my conversation with Tantek Çelik, Glenda Bautista, Andy Rutledge and others on the merits of self-hosting social content and publishing to various sites rather than aggregating locally from external sources.

via Own Your Data / technophilia

HERE’S A REALITY check for those of us who can’t believe fax machines are still necessary in 2011. I have just learned, to my astonishment, that half the lawyers in New York create their documents in WordPerfect. That is not a typo.

The version of WordPerfect they use saves in its native format. It can also save as RTF, but it loses formatting when it does so. It can save as a particular version of Word ’97 for Windows which is not compatible with other platforms, and which also loses formatting. And it can save as ASCII, because, well.

If the lawyer wishes to preserve the document’s formatting while saving a copy for someone (say, a client) who doesn’t own WordPerfect and hasn’t seen it since DOS ruled, said lawyer and said client are out of luck.

But what of PDF, you ask?

There is no option to save as PDF. Maybe Adobe charged a licensing fee that the makers of WordPerfect weren’t able to afford (hampered as they are by the fact that nobody besides New York lawyers buys their product). Or maybe the makers of WordPerfect died before PDF became ubiquitous.

Advanced Windows users can probably finagle a PDF out of WordPerfect, say, by buying Adobe Acrobat Pro and installing a plug-in, but the lawyers in New York do not seem to be advanced Windows users.

Oh, also, IE6 is the cat’s pajamas in this world. Twenty-three skidoo!

And you ask why we still use fax machines.

As a web designer I’ve always felt that I’d somehow cheated the system, having been absent on the day God handed out the ability to draw. I didn’t study fine art, I don’t have a natural talent to effortlessly knock out a realistic bowl of fruit beside a water jug, and yet somehow I’ve still managed to blag my way this far. I’m sure many of you may feel the same.

I had no intention of becoming an artist, but to have enough skill to convey an idea in a drawing would be useful. Instead, my inadequate instrument would doodle drunkenly across the page leaving a web of unintelligible paths instead of the refined illustration I’d seen in my mind’s eye. This – and the natural scrawl of my handwriting – is fine (if somewhat frustrating) when it’s for my eyes only but, when sketching to communicate a concept to a client, such amateur art would be offered with a sense of embarrassment. So when I had the opportunity to take part in some sketching classes whilst at Clearleft I jumped at the chance.

Why sketch?

In UX workshops early on in a project’s life, sketching is a useful and efficient way to convey and record ideas. It’s disposable and inexpensive, but needn’t look amateur. A picture may be worth a thousand words, but a well executed sketch of how you’ll combine funny YouTube videos with elephants to make Lolephants.com could be worth millions in venture capital. Actually, that’s not bad… ;-)

Although (as you will see) the basics of sketching are easy to master, the kudos you will receive from clients for being a ‘proper designer’ makes it worthwhile!

Where to begin?

Start by not buying yourself a sketch pad. If you were the type of child who ripped the first page out of a school exercise book and started again if you made even a tiny mistake (you’re not alone!), Wreck This Journal may offer a helping hand. Practicing on plain A4 paper instead of any ‘special’ notepad will make the process a whole lot easier, no matter how deliciously edible those Moleskines look.

Do buy yourself a black fine-liner pen and a set of grey Pro Markers for shading. These pens are unlike any you will have used before, and look like blended watercolours once the ink is dry. Although multiple strokes won’t create unsightly blotches of heavy ink on the page, they will go right through your top sheet so always remember to keep a rough sheet in the second position as an ink blotter.

photo by Tom Harrison

Don’t buy pencils to sketch with, as they lack the confidence afforded by the heavy black ink strokes of marker pens and fine-liners.

If you’re going to be sketching with clients then invest in some black markers and larger sheets of paper. At the risk of sounding like a stationery brand whore, Sharpies are ideal, and these comedy-sized Post-Its do the job far better than cheaper, less sticky alternatives. Although they’re thicker than most standard paper, be sure to double-layer them if you’re writing on them on a wall, unless you fancy a weekend redecorating your client’s swanky boardroom.

The best way to build confidence and improve your sketching technique is, obviously, to practise. Reading this article will be of no help unless you repeat the following examples several times each. Go grab a pen and some paper now, and notice how you improve within even a short period of time.

Sketching web UI

Most elements of any website can be drawn as a combination of geometric shapes.

photo by Nathanael Boehm

Circles

To draw a circle, get in position and start by resting your hand on the page and making the circular motion a few times without putting pen to paper. As you lower your pen whilst continuing the motion, you should notice the resulting shape is more regular than it otherwise would have been.

Squares and rectangles

Draw one pair of parallel lines first, followed by the others to complete the shapes. Slightly overlap the ends of the lines to make corners feel more solid than if you were to leave gaps. If you’re drawing a container, always draw the contents first, that way it won’t be a squash to fit them in. If you’re drawing a grid (of thumbnails, for instance), draw all parallel lines first as a series of long dashes to help keep line lengths and angles consistent.



Shadows

To lift elements from the page for emphasis, add a subtle shadow with a grey marker. For the most convincing look, assume the light source to be at the top left of the page – the shadow should simply be a thick grey line along the bottom and up the right edge of your shape. If the shape is irregular, the shadow should follow its outline. This is a good way to emphasise featured items, speech bubbles, form buttons, and so on.



Sketching ideas

Arrows

Use arrows to show steps in a process or direction of movement. Giving shadows a 3-D feel, or adding a single colour, will help separate them from the rest of the sketch.



Faces

Start by drawing the circle. The direction of the nose (merely a point) indicates the direction of the person’s gaze. The eyes and mouth show emotion: more open and curvy for happy thoughts; more closed and jagged for angry thoughts. Try out a few shapes and see what emotions they convey.



People

Remember, we’re aiming for communication rather than realism here. A stick man would be fine. Give him a solid body, as shown in this example, and it becomes easier to pose him.



I know you think hands are hard, but they’re quite important to convey some ideas, and for our purposes we don’t need to draw hands with any detail. An oval with a stick does the job of a pointing hand. Close-ups might need more fingers showing, but still don’t require any degree of realism.

Signage

Don’t be afraid to use words. We’re sketching to communicate, so if the easiest way to show an office block is a building with a big ‘office’ sign on the roof, that’s fine!



Labels

Likewise, feel free to label interactions. Use upper-case letters for legibility and slightly angle the horizontal bars upwards to create a more positive feel.

Clichés

Clichés are your friend! Someone’s having an idea? Light bulb above the head. Computer’s crashed? Cloud of smoke with “$£%*!”





It’s good to practise regularly. Try applying these principles to still life, too. Look around you now and draw the cup on the table, or the books on the shelf. Think of it as a combination of shapes and aim for symbolism rather than realism, and it’s not as hard as you’d think.

I hope this has given you the confidence to give it a shot, and the ability to at least not be mortified with the results!

Tip: If you’re involving clients in design games like Leisa Reichelt’s ‘Design Consequences’ it may be wise to tone down the quality of your drawings at that point so they don’t feel intimidated. Remember, it’s important for them to feel at ease with the idea of wireframing in front of you and their colleagues, no matter how bad their line work.

For more information see davegrayinfo.com – Dave Gray taught me everything I know :-)

STYLE VERSUS DESIGN READS like it was written this morning. In fact, I wrote the original version in 1999, when I had a monthly web design column going at Adobe.com. In 2005, Adobe asked if I’d mind updating the piece. I changed a couple of words and they agreed that the revision worked. For although the web had changed tremendously between 1999 and 2005, the issue I addressed in my article had not. This afternoon, while importing some old Ma.gnolia bookmarks into Pinboard, I came upon Adobe’s HTML version of the 2005 revision to “Style vs. Design.” I read it again, and tweeted the link. Within minutes, designers were responding. Many thought the piece was new. For what I said in that article over eleven years ago still rings true, although there are now more designers who see things as I do. It’s nice that a piece of writing about web design could remain relevant for over a decade. But it’s also a bit sad. See what you think.

The IAN symbol libraries contain over 1500 custom made vector symbols designed specifically for enhancing science communication skills. The libraries are designed primarily for use with Adobe Illustrator (requires version 10 or better), however we also offer eps and svg versions for non-Illustrator users. The symbols allow diagrammatic representations of complex processes to be developed easily with minimal graphical skills.

Our aim is to make them a standard resource for scientists, resource managers, community groups and environmentalists worldwide. Currently downloaded by 58747 users in 239 countries and 50 U.S. states.

The libraries are provided completely cost and royalty free.

via IAN Symbol Libraries (Free Vector Symbols for Illustrator) – Integration and Application Network.

European mobile operators say big sites need to pay for users' data demands (Guardian) -- it's like the postal service demanding that envelope makers pay them because they're not making enough money just selling stamps. What idiocy.
Grace Programming Language -- language designers working on a new teaching language.
Gawker Media's Entire Database Hacked -- 1.5M usernames and passwords, plus content from their databases, in a torrent. What's your plan to minimize the harm of an event like this, and to recover? (via Andy Baio)
Macmillan Do Interesting Stuff (Cameron Neylon) -- have acquired some companies that provide software tools to support scientists, and are starting a new line of business around it. I like it because it's a much closer alignment of scientists' interests with profit motive than, say, journals. Timo Hannay, who heads it, runs Science Foo Camp with Google and O'Reilly.

Great designers have one thing in common: their design process is centred on ideas; ideas that are more often than not developed on paper. Though it’s often tempting to take the path of least resistance, turning to the computer in the headlong rush to complete a project (often in the face of formidable client pressure), resist the urge and – for a truly great idea – start first on paper.

The path of least resistance is often characterised by cliché and overused techniques – one per cent noise, border-radius, text-shadow – the usual suspects – techniques that are ten-a-penny at the gallery sites. Whilst all are useful, and technique and craft are important, great design isn’t about technique alone – it’s about technique in the service of good ideas.

But how do we generate those ideas?

Inspiration can certainly come to you out of the blue. When working as a designer in a role which often consists of incubating good ideas, however, idly waiting for the time-honoured lightbulb to appear above your head just isn’t good enough. We need to establish an environment where we tip the odds of getting good ideas in our favour.

So, when faced with the blank canvas, what do we do to unlock the proverbial tidal wave of creativity? Fear not. We’re about to share with you a couple of stalwart techniques that will stand you in good stead when you need that good idea, in the face of the pressure of yet another looming deadline.

Get the process right

Where do ideas come from? In many cases they come from anywhere but the screen. Hence, our first commandment is to close the lid of your computer and, for a change, work on paper. It might seem strange, it might also seem like a distraction, but – trust us – the time invested here will more than pay off.

Idea generation should be a process of rapid iteration, sketching and thinking aloud, all processes best undertaken in more fast paced, analogue media. Our tool of choice is the Sharpie and Flip Chart Combo©, intentionally low resolution to encourage lo-fi idea generation. In short, your tools should be designed not to be precious, but to quickly process your thoughts. Ideas can be expressed with a thick line marker or by drawing with a stick in the sand; it’s the ideas that matter, not the medium.

Input > Synthesise > Output

Ideas don’t materialise in a vacuum. Without constant input, the outputs will inevitably remain the same. As such, it’s essential to maintain an inquisitive mind, ensuring a steady flow of new triggers and stimuli that enable your thinking to evolve.

What every designer brings to the table is their prior experience and unique knowledge. It should come as no surprise to discover that a tried and tested method of increasing that knowledge is, believe it or not, to read – often and widely. The best and most nuanced ideas come after many years of priming the brain with an array of diverse material, a point made recently in Jessica Hische’s aptly named Why You Should Know Your Shit.

One of the best ways of synthesising the knowledge you accumulate is to write. The act of writing facilitates your thinking and stores the pieces of the jigsaw you’ll one day return to. You don’t have to write a book or a well-articulated article; a scribbled note in the margin will suffice in facilitating the process of digestion.

As with writing, we implore you to make sketching an essential part of your digestion process. More immediate than writing, sketching has the power to put yet unformed ideas down on paper, giving you an insight into the fantastic conceptions you’re more often than not still incubating.

Our second commandment is a practical one: always carry a sketchbook and a pen. Although it seems that the very best ideas are scribbled on the back of a beer mat or a wine-stained napkin, always carrying your ‘thinking utensils’ should be as natural as not leaving the house without your phone, wallet, keys or pants.

Further, the more you use your sketchbook, the less precious you’ll find yourself becoming. Sketching isn’t about being an excellent draughtsman, it’s about synthesising and processing your thoughts and ideas, as Jason Santa Maria summarises nicely in his article Pretty Sketchy:


Sketchbooks are not about being a good artist, they’re about being a good thinker.

Jason Santa Maria



The sketchbook and pen should become your trusted tools in your task to constantly survey the world around you. As Paul Smith says, You Can Find Inspiration in Anything close the lid, look beyond the computer; there’s a whole world of inspiration out there.

Learn to love old dusty buildings

So, how do you learn? How do you push beyond the predictable world pre-filtered by Mr Google? The answer lies in establishing a habit of exploring the wonderful worlds of museums and libraries, dusty old buildings that repay repeated visits.

Once the primary repositories of thought and endless sources of inspiration, these institutions are now often passed over for the quick fix of a Google search or Wikipedia by you, the designer, chained to a desk and manacled to a MacBook. Whilst others might frown, we urge you to get away from your desk and take an eye-opening stroll through the knowledge-filled corridors of yore (and don’t forget to bring your sketchbook).

Here you’ll find ideas aplenty, ideas that will set you apart from your peers, who remain ever-reliant on the same old digital sources.

The idea generation toolbox

Now that we’ve established the importance of getting the process and the context right, it’s time to meet the idea generation toolbox: a series of tools and techniques that can be applied singularly or in combination to solve the perennial problem of the blank canvas.

The clean sheet of paper, numbing in its emptiness, can prove an insurmountable barrier to many a project, but the route beyond it involves just a few, well-considered steps. The route to a good idea lies in widening your pool of inspiration at the project outset. Let go and generate ideas quickly; it’s critical to diverge before you converge – but how do we do this and what exactly do we mean by this?

The temptation is to pull something out of your well-worn box of tricks, something that you know from experience will do the job. We urge you, however, not to fall prey to this desire. You can do better; better still, a few of you putting your minds together can do a lot better. By avoiding the path of least resistance, you can create something extraordinary.

Culturally, we value logical, linear thinking. Since the days of Plato and Aristotle, critical thinking, deduction and the pursuit of truth have been rewarded. To generate creative ideas, however, we need to start thinking sideways, making connections that don’t necessarily follow logically. Lateral thinking, a phrase coined by Edward de Bono in 1967, aptly describes this very process:


With logic you start out with certain ingredients, just as in playing chess you start out with given pieces – lateral thinking is concerned not with playing with the existing pieces but with seeking to change those very pieces.

Edward de Bono



One of the easiest ways to start thinking laterally is to start with a mind map, a perfect tool for widening the scope of a project beyond the predictable and an ideal one for getting the context right for discovery.

Making connections

Mind maps can be used to generate, visualise and structure ideas. Arranged intuitively and classified around groupings, mind maps allow chance connections to be drawn across related groups of information, and are perfect for exposing alogical associations and unexpected relationships.

Get a number of people together in a room, equipped with the Sharpie and Flip Chart Combo©. Give yourself a limited amount of time – half an hour should prove more than enough – and you’ll be surprised at the results a few well-chosen people can generate in a very short space of time. The key is to work fast, diverge and not inhibit thinking.

We’ve been embracing Tony Buzan’s methods in our teaching for over a decade. His ideas on the power of radiant thinking and how this can be applied to mind maps, uncover the real power which lies in the human brain’s ability to spot connections across a mapped out body of diverse knowledge.

Frank Chimero wrote about this recently in How to Have an Idea, which beautifully illustrates Mr Buzan’s theories, articulating the importance of the brain’s ability to make abstract connections, finding unexpected pairings when a concept is mapped out on paper.

Once a topic is surveyed and a rich set of stimuli articulated, the next stage is to draw connections, pulling from opposite sides of the mind map. It’s at this point, when defining alogical connections, that the truly interesting and unexpected ideas are often uncovered.

The curve ball

If you’ve followed our instructions so far, all being well, you should have a number of ideas. Good news: we have one last technique to throw into the mix. We like to call it ‘the curve ball’, that last minute ‘something’ that forces you to rethink and encourages you to address a problem from a different direction.

There are a number of ways of throwing in a curve ball – a short, sharp, unexpected impetus – but we have a firm favourite we think you’ll appreciate. Brian Eno and Peter Schmidt’s Oblique Strategies – subtitled ‘Over One Hundred Worthwhile Dilemmas’ – are the perfect creative tool for throwing in a spot of unpredictability. As Eno and Schmidt put it:


The Oblique Strategies can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case the card is trusted even if its appropriateness is […]

I was in Dublin recently to give a little talk at the 24 Hour Universal Design Challenge 2010. It was an interesting opportunity to present my own perspective on web design to an audience that consisted not just of web designers, but designers from many different fields.

I gave an overview of the past, present and future of web design as seen from where I’m standing. You can take a look at the slides but my usual caveat applies: they won’t make much sense out of context. There is, however, a transcript of the talk on the way (the whole thing was being captioned live on the day).

Towards the end of my spiel, I pointed to Tim Berners-Lee’s recent excellent article in Scientific American, Long Live the Web: A Call for Continued Open Standards and Neutrality:

The primary design principle underlying the Web’s usefulness and growth is universality. When you make a link, you can link to anything. That means people must be able to put anything on the Web, no matter what computer they have, software they use or human language they speak and regardless of whether they have a wired or wireless Internet connection. The Web should be usable by people with disabilities. It must work with any form of information, be it a document or a point of data, and information of any quality—from a silly tweet to a scholarly paper. And it should be accessible from any kind of hardware that can connect to the Internet: stationary or mobile, small screen or large.

We’re at an interesting crossroads right now. Recent developments in areas like performance and responsive design means that we can realistically pursue that vision of serving up content at a URL to everyone to the best ability of their device. At the same time, the opposite approach—creating multiple, tailored URLs—is currently a popular technique.

At the most egregious and nefarious end of the spectrum, there’s Google’s disgusting backtracking on net neutrality which hinges on a central conceit that spits in the face of universality:

…we both recognize that wireless broadband is different from the traditional wireline world, in part because the mobile marketplace is more competitive and changing rapidly. In recognition of the still-nascent nature of the wireless broadband marketplace, under this proposal we would not now apply most of the wireline principles to wireless…

That’s the fat end of the wedge: literally having a different set of rules for one group of users based on something as arbitrary as how they are connecting to the network.

Meanwhile, over on the thin end of the wedge, there’s the fashion for serving up the same content at different URLs to different devices (often segregated within a subdomain like m. or mobile.—still better than the crack-smoking-inspired .mobi idea).

It’s not a bad technique at all, and it has served the web reasonably well as we collectively try to get our heads around the expanded browser and device landscape of recent years …although some of us cringe at the inherent reliance on browser-sniffing. At least the best practice in this area is to always offer a link back to the “regular” site.

Still, although the practice of splintering up the same content to separate URLs and devices has been a useful interim step, it just doesn’t scale. It’s also unnecessary.

Most of the time, creating a separate mobile website is simply a cop-out.

Hear me out.

First of all, I said “most of the time.” Maybe Garrett is onto something when he says:

It seems responsive pages are best for content while dedicated mobile pages are best for interactive applications. Discuss.

Although, as I pointed out in my brief list of false dichotomies, there’s no clear delineation between documents and applications (just as there’s no longer any clear delineation between desktop and mobile).

Still, let’s assume we’re talking about content-based sites. Segregating the same content into different URLs seems like a lot of work (quite apart from violating the principle of universality) if all you’re going to do is remove some crud that isn’t necessary in the first place.

As an example, here’s an article from The Guardian’s mobile site and here’s the same article as served up on the www. subdomain.

Leaving aside the way that the width is inexplicably set to a fixed number of pixels, it’s a really well-executed mobile site. The core content is presented very nicely. The cruft is gone.

But then, if that cruft is unnecessary, why serve it up on the “desktop” version? I can see how it might seem like a waste not to use extra screen space and bandwidth if it’s available, but I’d love see an approach that’s truly based on progressive enhancement. Begin with the basic content; structure it to best fit the screen using media queries or some other form of feature detection (not browser detection); pull in extra content for large-screen user-agents, perhaps using some form of lazy loading. To put it in semantic terms, if the content could be marked up as an aside, it may be a prime candidate for lazy loading based on device capability:

The aside element represents a section of a page that consists of content that is tangentially related to the content around the aside element, and which could be considered separate from that content.

I’m being unfair on The Guardian site …and most content-based sites with a similar strategy. Almost every site that has an accompanying mobile version—Twitter, Flickr, Wikipedia, BBC—began life when the desktop was very much in the ascendency. If those sites were being built today, they might well choose a more responsive, scalable solution.

It’s very, very hard to change an entire existing site. There’s a lot of inertia to battle against. Also, let’s face it: most design processes are not suited to solving problems in a device-independent, content-out way. It’s going to be challenging for large organisations to adjust to this way of thinking. It’s going to be equally challenging for agencies to sell this approach to clients—although I feel Clearleft may have a bit of an advantage in having designers like Paul who really get it. I think a lot of the innovation in this area will come from more nimble quarters: personal projects and small startups, most likely.

37 Signals recently documented some of their experiments with responsive design. As it turned out, they had a relatively easy time of it because they were already using a flexible approach to layout:

The key to making it easy was that the layout was already liquid, so optimizing it for small screens meant collapsing a few margins to maximize space and tweaking the sidebar layout in the cases where the screen is too narrow to show two columns.

In the comments, James Pearce, who is not a fan of responsiveness, was quick to cry foul:

I think you should stress that building a good mobile site or app probably takes more effort than flowing a desktop page onto a narrower piece of glass. The mobile user on the other side will quite possibly want to do different things to their desktop brethren, and deserves more than some pixel shuffling.

But the very next comment gets to the heart of why this well-intentioned approach can be so destructive:

A lot of mobile sites I’ve seen are dumbed down versions of the full thing, which is really annoying when you find that the feature you want isn’t there. The design here is the same site adapted to different screens, meaning the end product doesn’t lose any functionality. I think this is much better than making decisions for your users as to what they will and won’t want to see on their mobile phone.

I concur. I think there’s a real danger in attempting to do the right thing by denying users access to content and functionality “for their own good.” It’s patronising and condescending to assume you know the wants and needs of a visitor to your site based purely on their device.

The most commonly-heard criticism of serving up the same website to everyone is that the existing pages are too large, either in size or content. I agree. Far too many URLs resolve to bloated pages locked to a single-width layout. But the solution is not to make leaner, faster pages just for mobile users; the answer is to make leaner, faster pages for everybody.

Even the brilliant Bryan Rieger, who is doing some of the best responsive web design work on the planet with the Yiibu site, still talks about optimising only for certain users in his otherwise-excellent presentation, The End of Unlimited Bandwidth.

When I was reading the W3C’s Mobile Web Best Practices, I was struck by how much of it is sensible advice for web development in general, rather than web development specifically for mobile.

This is why I’m saying that most of the time, creating a separate mobile website is simply a cop-out. It’s a tacit acknowledgement that the regular “desktop” site is beyond help. The cop-out is creating an optimised experience for one subset of users while abandoning others to their bloated fate.

A few years back, there was a trend to provide separate text-only “accessible” websites, effectively ghettoising some users. Nowadays, it’s clear that universal design is a more inclusive, more maintainable approach. I hope that the current ghettoisation of mobile users will also end.

I’m with Team Timbo. One web.

Tagged with
mobile
responsive
design
performance
oneweb
accessibility

For nearly fifteen years, if you wanted to set a paragraph of web text in a serif typeface, the only truly readable option was Georgia. But now, in web type’s infancy, we’re starting to see some valid alternatives for the king of screen serifs. What follows is a list of serif typefaces that have been tuned—and in some cases drawn from scratch—for the screen.

Stephen Coles, December 6, 2010:
Cure for the Common Webfont, Part 2: Alternatives to Georgia

I love blogs. Nick Denton wrote over on Lifehacker about the pending redesign of Gawker's blogs, with a lot of great insights into the leading edge of web publishing today. As with any thoughtful, provocative writing of such length, it inspired some great responses, including two of my early favorites:

Joel Johnson, in 133 characters, offered up "Gawker Media is the size of a moderately successful local McDonalds franchise. So I guess it's a compliment that it's so interesting."
Felix Salmon, at 6000 words, covers Hungary and the Cayman Islands, Kinja and Blogwire, and probably other stuff that I missed.

Finally, Nick Bilton did a follow-up on the NY Times Bits blog today, which talks about this evolution of Gawker's design (which you can see for yourself at beta.gawker.com and then quotes me:

“I think Nick [Denton] is eager to declare this a post-blog design as a sop to advertisers,” he said. “It’s still a blog, it’s just the blog is in a narrower column.”

This is true! I do think this — Gawker is still, and always has been, just a nicely designed blog. Same goes for its sister sites. But what neither Nick mentioned is an idea that I've shared with them both, that Gawker's redesign to me shows an interesting convergence around a pattern that is best exemplified by, of all things, the new Twitter design.

River On One Side, Party On The Other

Let's consider the core elements of a reverse-chronological headline flow, accompanied by a sort of "content well" where rich media items sit. I mumbled about this a bit a few months ago in Twitter, Transclusion and Trust, but basically a half-decade after RSS readers failed to take over the world, major media sites are all converging on the idea of a two-paned reader, with a river of news of headlines that can be clicked to yield an embedded article reader that prominently features video, photos or other rich content. Here's a side-by-side comparison, with the bloggy parts highlighted:

Interestingly, this sort of seems like blogs have finally adopted elements of web applications as part of their fundamental design. Many have noted how the new Twitter on the web seems influenced by Twitter on the iPad (though the order of the two platforms' release may not have been the order of their creation), but in chatting today Nick Denton mentioned that there has seemed to be a sort of convergent evolution around these ideas between Twitter's work, Gawker's redesign, and other apps as well. Nick specifically mentioned the Mail app on the iPad, and added, "When we saw Reeder on iPad, we thought: oh, wow, same thinking".

The relative widths of the columns accurately reflects the priority of the media companies that host them: Twitter is mostly about the stream, but also about the content; Gawker is primarily about the content but needs to have the stream.

In this way, blogs are emphasizing the trait that's always defined them, the fact that they're an ongoing flow of information instead of just a collection of published pages. By allowing that flow to continue regardless of which particular piece of embedded content has caught your eye, Gawker and Twitter are just showing the vibrancy and resilience of the format.

TrueType font embedding has come to iPhone and iPad, Hallelujah, brothers and sisters. That is to say, Mobile Safari now supports CSS embedding of lower-bandwidth, higher-quality, more ubiquitous TrueType fonts. This is huge. Test on your device(s), then read and rejoice:

The Typekit Blog: iOS 4.2 improves support for web fonts
iOS 4.2 is also the first version of Mobile Safari to support native web fonts (in TrueType format) instead of SVG. This is also exciting news, as TrueType fonts are superior to SVG fonts in two very important ways: the files sizes are dramatically smaller (an especially important factor on mobile devices), and the rendering quality is much higher.

Ryan N.: Confirmed: TrueType Font Support on Mobile Safari on iOS 4.2
Thanks to Matt Wiebe for mentioning the rumour that Mobile Safari on iOS 4.2 supports TrueType fonts and providing a handy link to test.

TrueType
TrueType is an outline font standard originally developed by Apple Computer in the late 1980s as a competitor to Adobe’s Type 1 fonts used in PostScript. TrueType has become the most common format for fonts on both the Mac OS and Microsoft Windows operating systems.

The primary strength of TrueType was originally that it offered font developers a high degree of control over precisely how their fonts are displayed, right down to particular pixels, at various font sizes. With widely varying rendering technologies in use today, pixel-level control is no longer certain in a TrueType font.

More about webfonts
If you’re coming late to the party, the following bits of required reading and listening will get you up to speed on the joys (and occasional frustrations) of “real type” on the web:

Bulletproof @font-face syntax, Paul Irish, 4 September, 2009

Web Fonts at the Crossing, Richard Fink, 8 June 2010, A List Apart
Big Web Show Episode 1, Dan Benjamin and I discuss webtype with Ethan Dunham of Fontspring and Font Squirrel and Jeffrey Veen of Typekit
Big Web Show Episode 18, Dan Benjamin and I discuss webtype, screen resolution, and more with Roger Black

Thanks
My thanks to David Berlow of Font Bureau for waking me from my Thanksgiving stupor and alerting me to this exciting slash overdue development.

Now we have something else to be thankful for. Nathan Smith of Sonspring has created a library that gives designers and developers “some measure of control over form elements, without changing them so drastically as to appear foreign in a user’s operating system.” Smith calls his new library Formalize CSS:

I’ve attempted to bridge the gap between various browsers and OS’s, taking the best ideas from each, and implementing what is possible across the board. For the most part, this means most textual form elements have a slight inset, and all buttons look consistent, including the button tag.

For more, including demos, options, screenshots, thanks, and the library itself, read Smith’s write-up at SonSpring | Formalize CSS. Hat tip and happy Thanksgiving to my good friend Aaron Gustafson for sharing this gem.

Another week, another responsive web site.

Two weeks ago, it was St. Paul’s School. Last week, it was Salter Cane. This week, I’ve been working on next year’s UX London site, implementing a nice little design refresh courtesy of Paul.

More pages will be added soon but for now, it’s essentially like a poster for the conference.

Back when I was working on the first UX London site two years ago, I was building it together with Natalie, and I mean literally together: we were pair-programming. Well, I guess programming isn’t quite right for HTML and CSS, but we were pair-writing. It was an excellent experience.

Anyway, Natalie being Natalie, the UX London site was built with rock-solid markup with a flexible layout. All the pieces were in place for a responsive web design so once I was done with the current refresh, I spent a few minutes writing some media queries.

You can see the results for yourself.

Tagged with
css
design
adaptive
responsive
css3
mediaqueries
uxlondon

Vincent (no last name given) has designed a beautiful, extremely useful, feature-rich interface design framework for web designers who create their initial design mock-ups in Adobe Illustrator. And it’s free for personal or commercial use (credit link required).

The set includes:

GUI library – Hundreds of vector elements for interface design
Minimal UI icons set – 260 vector icons for Illustrator
Styles library – 200 styles to apply in Illustrator

I’d pay cash money for the color schemes alone: 330 swatches harmonized with graphic styles for backgrounds, typography and other GUI interface elements.

The back-link requirement may be a deal breaker in some situations. I’d happily use these GUI icons on a personal project, but I might refrain on a client project if it seemed awkward to include a widget credit on the site. (It all depends on the client.)

That possible caveat aside, this is an extraordinary set of widgets and gizmos many web designers will want to have in their tool kit.

Learn to love vendor prefixes and create full-screen backgrounds that resize to fit the viewport in Issue No. 309 of A List Apart for people who make websites:

Prefix or Posthack
by ERIC MEYER

Vendor prefixes: Threat or menace? As browser support (including in IE9) encourages more of us to dive into CSS3, vendor prefixes such as -moz-border-radius and -webkit-animation may challenge our consciences, along with our patience. But while nobody particularly enjoys writing the same thing four or five times in a row, prefixes may actually accelerate the advancement and refinement of CSS. King of CSS Eric Meyer explains why.

Supersize that Background, Please!
by BOBBY VAN DER SLUIS

Background images that fill the screen thrill marketers but waste bandwidth in devices with small viewports, and suffer from cropping and alignment problems in high-res and widescreen monitors. Instead of using a single fixed background size, a better solution would be to scale the image to make it fit different window sizes. And with CSS3 backgrounds and CSS3 media queries, we can do just that. Bobby van der Sluis shows how.

Illustration by Kevin Cornell for A List Apart Magazine.

The blog of Mr Simon Collison, retooled as responsive web design. The wide version.

The blog of Mr Simon Collison, retooled as responsive web design. The narrow version.

See more versions in Mr Collison’s “Media Query Layouts” set on Flickr.

Read the article that started it all. Coming soon as a book by Mr Ethan Marcotte from A Book Apart. (The current A Book Apart book, Mr Jeremy Keith’s HTML5 For Web Designers, ships Friday. Mr Ethan Marcotte will be our guest this Thursday, June 24, on The Big Web Show. Synchronicity. It’s not just an LP by The Police. Kids, ask your parents.)

The beauty of responsive web design becomes obvious when you see your site in smart phones, tablets, and widescreen desktop browsers. It’s as if your site was redesigned to perfectly fit that specific environment. And yet there is but one actual design—a somewhat plastic design, if you will. An extensible design, if you prefer. It’s what some of us were going for with “liquid” web design back in the 1990s, only it doesn’t suck. Powered by CSS media queries, it’s the resurrection of a Dao of Web Design and a spiffy new best practice. All the kids are doing it.

Well, anyway, some of the cool ones are. See also the newly retooled-per-responsive-design Journal by Mr Hicks. Hat tip: Mr Stocks. I obviously have some work to do on this site. And you may on yours.

Seen any good responsive redesigns lately?

The long-planned inevitable has now been announced. With open-source-licensed web fonts, web font hosting, and add-a-line-to-your-header ease of configuration, Google has joined Typekit, Font Squirrel, Ascender, Font Bureau and others in forever changing the meaning of the phrase, “typography on the web.”

The Google Font Directory lets you browse all the fonts available via the Google Font API. All fonts in the directory are available for use on your website under an open source license and served by Google servers.

Oh, and Typekit? They’re in on it, and they couldn’t be more pleased.

Our visually and behaviorally rich sites are about to lose precious Google juice, WebSiteOptimization.com reports in a new piece titled Page Speed Factored into Google Search Rankings:

Google’s addition of a page speed signal to its search rankings algorithm officially links performance with search engine marketing. The loading speed of a web page affects user psychology in a number of ways, and now it can effect its rankings as well.

This back-to-basics message catches us at a funny time in web design history.

“Make more of less” has long been the norm
Most of us who’ve designed sites for quite a while, and who consider ourselves user- and standards-focused, have traditionally designed sites that loaded faster the competition. We did it by using caching technologies (CSS instead of table layouts, linked instead of inline JavaScript, and so on). For many, many years, we also did it by keeping images to a minimum, using system fonts instead of pictures of type, CSS colors instead of faux backgrounds, and so on.

As the web audience grew, heavily trafficked sites became even more restrictive in their decorative flourishes, whether they cared about web standards or not. Thus Google, while happily using bad CSS and markup, exerted monk-like discipline over its designers. Not only were images out, even such details as rounded corners were out, because the tiny images needed to facilitate rounded corners prior to CSS3 added a tenth of a kilobyte to page weight, and a tenth of a kilobyte multiplied by a billion users was too much.

Of late, we have grown fat
Yet in the past few years, as wideband became the norm, every mainstream site and its brother started acting as if bandwidth didn’t matter. Why use 1K of web form when you could use 100K of inline pseudo-Ajax? Why load a new page when you could load a lightbox instead?

Instead of medium-quality JPEGs with their unimportant details painstakingly blurred to shave KB, we started sticking high-quality PNG images on our sites.

As these bandwidth-luxuriant (and not always beautiful, needed, or useful) practices became commonplace on mainstream sites, many advanced, standards-focused web designers were experimenting with web fonts, CSS3 multiple backgrounds, full-page background images, and other devices to create semantic, structurally lean sites that were as rich (and heavy) as Flash sites.

So now we face a dilemma. As we continue to seduce viewers via large, multiple background images, image replacement, web fonts or sIFR, and so on, we may find our beautiful sites losing page rank.

Read the report and watch this space.

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.

Business Insider: Why Tumblr Is Kicking Posterous’s Ass

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

Via instantshift.com

Pulling the trigger just got easier. Now anyone can have a beautifully designed, standards-compliant WordPress site. The 60-plus recently created free WordPress themes (AKA template collections) listed by InstantShift’s Daniel Adams are categorized by function and style: “Clean and Minimal,” “Artistic and Fancy,” “Magazine Style,” “Portfolio Style,” “News and Social Media Style,” “Showcase and Galleries Style,” “E-Comerce and Shopping Cart Style,” “Domain Parking/Coming Soon Style,” and “Other.” Something for everyone.

Not everything here is a winner or will appeal to every taste, but there is plenty of great work to be had here. If WordPress is your CMS (it’s mine), even if you are a designer, you may ask yourself if you really need to perform that next site redesign from scratch.

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

It's not every day you get to watch the birth of an Internet meme, but yesterday, I was there at the moment of conception. I didn't give birth to it but I certainly played a completely inadvertent and circumstantial part.

Facebook and AOL had announced their partnership and I decided the news merited more than the two paragraph treatment I saw everywhere else. So I embarked on a diatribe about how Facebook was trying to be our "One True Login"- and unknowingly set in motion what has become the most epic comment thread ReadWriteWeb has ever seen. But how did this happen and why?
Sponsor

Within a half an hour of posting, the number of visitors had skyrocketed. It looked like a real winner. An hour later, it had reached the number of visitors an average post might see in an entire day. I figured I'd hit a home run.

But then the comments started rolling in.

"When can we log in?" asked one commenter.

"I WANT THE OLD FAFEBOOK BACK THIS SHIT IS WACK!!!!!" complained the next.

At first we wondered if it could be a giant, orchestrated prank. We weren't sure who we might have offended, but obviously it was a premeditated assault. When we looked at our traffic, however, we didn't see any of the usual suspects, just two little words on a very big website: "Facebook login" and Google. The post had become the number two search result.

By the end of the day, the post had several hundred comments and our back-channel chat room was still debating whether or not it could all be real.

It was like we had unearthed a long-lost city, the Atlantis of the Internet. But instead of treasures and gold we'd found a steady deluge of confused and frustrated users who had tried everything they knew to do and just wanted to log in to Facebook, damnit. But how had this happened? It certainly wasn't that thousands and thousands of people had just started searching for "facebook login" yesterday. This stream of people has been there all along and something is broken.

Google had completely failed its users. It put us, with a post about how an AOL partnership foreshadowed Facebook becoming the de facto user database, above the most logical search result possible - Facebook's login page.

While for us this was completely random, other search results show that this is actually a space that is otherwise intentionally occupied by sites trying to siphon off this traffic and profit from it. I don't think the first search result for "Facebook login" was actually English, and the one that followed wasn't either, but those two key words are used over and over.

By the next morning, the scale had tipped. News of the epic thread had started making its way around the social web, being retweeted across the Twitterverse, posted by early adopters on Buzz and submitted to sites like Reddit, Digg, StumbleUpon, HackerNews and Fark.

"No, really," everyone seemed to be saying, "You GOTTA see this one."

Suddenly, the two worlds collided. The tech savvy ran head-on into the tech illiterate and mockery and disbelief started to overtake confusion as the general tone in the comment thread. As the post made its way around the web, other comment threads, like those on Reddit and MetaFilter, began mimicking the now infamous comments. I suddenly realized that we might be standing at that flash point, that moment where it begins - the immaculate conception of an Internet meme. I've always wanted to be there at that moment. I've always wondered about the first person that saw a lobster and said, "You know what? I'm going to eat that."

"I LIKE THE NEW ALL-BLUE FACEBOOK BUT CAN I JUST LOG IN NOW PLEEEEEZE?????!!!11" reads one comment on MetaFilter.

Another comment on Reddit reads, "IS THIS THE ARTICLE!!? ALL I SEE IS COMMENTS!!!!! HOW COME WHEN I TRY TO LOG IN I PEE ON MYSELF AND PASS OUT?!?? I LIKED REDDIT BEFORE THE PEE!!!"

One person has even written a sonnet, detailing the plight of the lost Facebook users.

While we mock those users, the simple fact is they haven't necessarily failed, something failed them. With all of our talk about the semantic Web and search engine optimization and tailoring search results to the individual user, there are thousands upon thousands of users performing the same simple search and following the same wrong road. If this were a standard traffic sign misdirecting this many people, it would have been pulled down long ago. There would have been outraged citizens at town meetings and special reports on the five o' clock news.

So, when five years down the road someone, somewhere, in a completely unrelated comment thread says "i need the old facebook this new one is very bad bbbbbbbbbbuuuuuuuuuuuuuuuuuuuu!" I will be happy to say that I was there - I was around for the birth of that Internet meme. But I also hope that, by then, we've addressed the problem at the core. This is the Internet and these are its users.

If this many of them can't login to Facebook by typing that into Google and clicking on the first thing they see, it's probably not them that are wrong, it's Google.

Discuss

Dan Benjamin and yours truly discuss the secret history of blogging, transitioning from freelance to agency, the story behind the web standards movement, the launch of A Book Apart and its first title, HTML5 For Web Designers by Jeremy Keith, the trajectory of content management systems, managing the growth of a design business, and more in the inaugural episode of the Pipeline.

Vintage Ad Browser. Fantastic. 100,000+ vintage advertisements scanned and organised by date and topic, going all the way back to the 1840s and covering every decade in between. An absolute gold mine.

This is a bookmarklet made for web designers who want to rapidly check how different fonts and font styles look on their screen without editing code and refreshing pages. 

Download the amazing and oh-so-practical Soma FontFriend bookmarklet.

When Tim and I were discussing the redesign of this site last year, one of the clear goals was to have a graphical style without making the pages heavy with a lot of images. When we launched, a lot of people were surprised that the design wasn’t built with PNGs. Instead we’d used RGBA colour values, which is part of the CSS3 specification.

What is RGBA Colour?

We’re all familiar with specifying colours in CSS using by defining the mix of red, green and blue light required to achieve our tone. This is fine and dandy, but whatever values we specify have one thing in common — the colours are all solid, flat, and well, a bit boring.

Flat RGB colours

CSS3 introduces a couple of new ways to specify colours, and one of those is RGBA. The A stands for Alpha, which refers to the level of opacity of the colour, or to put it another way, the amount of transparency. This means that we can set not only the red, green and blue values, but also control how much of what’s behind the colour shows through. Like with layers in Photoshop.

Don’t We Have Opacity Already?

The ability to set the opacity on a colour differs subtly from setting the opacity on an element using the CSS opacity property. Let’s look at an example.

Here we have an H1 with foreground and background colours set against a page with a patterned background.

Heading with no transparency applied


h1 {
color: rgb(0, 0, 0);
background-color: rgb(255, 255, 255);
}

By setting the CSS opacity property, we can adjust the transparency of the entire element and its contents:

Heading with 50% opacity on the element


h1 {
color: rgb(0, 0, 0);
background-color: rgb(255, 255, 255);
opacity: 0.5;
}

RGBA colour gives us something different – the ability to control the opacity of the individual colours rather than the entire element. So we can set the opacity on just the background:

50% opacity on just the background colour


h1 {
color: rgb(0, 0, 0);
background-color: rgba(255, 255, 255, 0.5);
}

Or leave the background solid and change the opacity on just the text:

50% opacity on just the foreground colour


h1 {
color: rgba(0, 0, 0, 0.5);
background-color: rgb(255, 255, 255);
}

The How-To

You’ll notice that above I’ve been using the rgb() syntax for specifying colours. This is a bit less common than the usual hex codes (like #FFF) but it makes sense when starting to use RGBA. As there’s no way to specify opacity with hex codes, we use rgba() like so:


color: rgba(255, 255, 255, 0.5);

Just like rgb() the first three values are red, green and blue. You can specify these 0-255 or 0%-100%. The fourth value is the opacity level from 0 (completely transparent) to 1 (completely opaque).

You can use this anywhere you’d normally set a colour in CSS — so it’s good for foregrounds and background, borders, outlines and so on. All the transparency effects on this site’s current design are achieved this way.

Supporting All Browsers

Like a lot of the features we’ll be looking at in this year’s 24 ways, RGBA colour is supported by a lot of the newest browsers, but not the rest. Firefox, Safari, Chrome and Opera browsers all support RGBA, but Internet Explorer does not.

Fortunately, due to the robust design of CSS as a language, we can specify RGBA colours for browsers that support it and an alternative for browsers that do not.

Falling back to solid colour

The simplest technique is to allow the browser to fall back to using a solid colour when opacity isn’t available. The CSS parsing rules specify that any unrecognised value should be ignored. We can make use of this because a browser without RGBA support will treat a colour value specified with rgba() as unrecognised and discard it.

So if we specify the colour first using rgb() for all browsers, we can then overwrite it with an rgba() colour for browsers that understand RGBA.


h1 {
color: rgb(127, 127, 127);
color: rgba(0, 0, 0, 0.5);
}

Falling back to a PNG

In cases where you’re using transparency on a background-color (although not on borders or text) it’s possible to fall back to using a PNG with alpha channel to get the same effect. This is less flexible than using CSS as you’ll need to create a new PNG for each level of transparency required, but it can be a useful solution.

Using the same principal as before, we can specify the background in a style that all browsers will understand, and then overwrite it in a way that browsers without RGBA support will ignore.


h1 {
background: transparent url(black50.png);
background: rgba(0, 0, 0, 0.5) none;
}

It’s important to note that this works because we’re using the background shorthand property, enabling us to set both the background colour and background image in a single declaration. It’s this that enables us to rely on the browser ignoring the second declaration when it encounters the unknown rgba() value.

Next Steps

The really great thing about RGBA colour is that it gives us the ability to create far more graphically rich designs without the need to use images. Not only does that make for faster and lighter pages, but sites which are easier and quicker to build and maintain. CSS values can also be changed in response to user interaction or even manipulated with JavaScript in a way that’s just not so easy using images.

Opacity can be changed on :hover or manipulated with JavaScript


div {
color: rgba(255, 255, 255, 0.8);
background-color: rgba(142, 213, 87, 0.3);
}
 
div:hover {
color: rgba(255, 255, 255, 1);
background-color: rgba(142, 213, 87, 0.6);
}

Clever use of transparency in border colours can help ease the transition between overlay items and the page behind.

Borders can receive the RGBA treatment, too


div {
color: rgb(0, 0, 0);
background-color: rgb(255, 255, 255);
border: 10px solid rgba(255, 255, 255, 0.3);
}

In Conclusion

That’s a brief insight into RGBA colour, what it’s good for and how it can be used whilst providing support for older browsers. With the current lack of support in Internet Explorer, it’s probably not a technique that commercial designs will want to heavily rely on right away – simply because of the overhead of needing to think about fallback all the time.

It is, however, a useful tool to have for those smaller, less critical touches that can really help to finesse a design. As browser support becomes more mainstream, you’ll already be familiar and practised with RGBA and ready to go.