Free Web Design - Web Designing Tutorials Great Web DesignTutorials and Free designing Guide to newbies and professionals http://website-design.mihanblog.com 2020-05-24T10:47:29+01:00 text/html 2012-09-16T12:30:00+01:00 website-design.mihanblog.com ramin h مدیر عامل بانک توسعه تعاون خبر داد http://website-design.mihanblog.com/post/127 <DIV class=nwstxttoppane> <DIV class=nwstxtnewsinfo><SPAN id=bodyHolder_newstextDetail_nwstxtInfoPane> <DIV class=nwstxtrotitr>مدیر عامل بانک توسعه تعاون خبر داد</DIV> <DIV class=nwstxtinfotitle>پرداخت تسهیلات برای ساخت 120 هزار واحد مسکونی</DIV> <P style="LINE-HEIGHT: 160%" class=nwstxtlead>خبرگزاری فارس: مدیر عامل بانک توسعه و تعاون با اشاره به اینکه طبق قانون حدود 20 درصد از منابع باید به بخش مسکن و صنعت ساختمان اختصاص یابد گفت: برای ساخت و ایجاد بیش از 120 هزار واحد مسکونی توسط این بانک تسهیلات پرداخت شده است.</P></SPAN></DIV> <DIV class=nwstxtpic><SPAN id=bodyHolder_newstextDetail_nwstxtPicPane><IMG title="خبرگزاری فارس: پرداخت تسهیلات برای ساخت 120 هزار واحد مسکونی" alt="خبرگزاری فارس: پرداخت تسهیلات برای ساخت 120 هزار واحد مسکونی" src="http://media.farsnews.com/media/Uploaded/Files/Images/1390/06/26/150231405_PhotoA.jpg"></SPAN> </DIV></DIV><SPAN id=bodyHolder_newstextDetail_nwstxtBodyPane> <P style="LINE-HEIGHT: 180%" class=nwstxttext> <P class=rtejustify>به گزارش خبرنگار اقتصادی باشگاه خبری فارس «توانا»، ماشاءالله عظیمی در بازدید از دوازدهمین نمایشگاه بین‌المللی صنعت ساختمان، با بیان اینکه این بانک برای بازسازی مناطق زلزله‌زده استان آذربایجان شرقی و ایجاد کارخانه‌های تولید مسکن صنعتی 25 میلیون دلار تسهیلات اعطا کرده اظهار داشت: براساس ابلاغیه بانک مرکزی جمهوی اسلامی ایران همه بانک‌ها موظف‌اند حدود 20 درصد از منابع خودرا به صورت تسهیلات به بخش مسکن و صنعت ساختمان اعطاء کنند.</P> <P class=rtejustify>مدیر عامل بانک توسعه تعاون افزود: بر این اساس، بانک توسعه تعاون تاکنون برای ساخت و ایجاد بیش از 120 هزار واحد مسکونی بدون اینکه از آنها سند مالکیت برای تضمین دریافت شود، تسهیلات&nbsp;پرداخت کرده است.</P> <P class=rtejustify>عظیمی با بیان اینکه همه تعاونی‌های مسکن کشور که قصد ایجاد <A title="" href="http://www.designcade.rozblog.com/" target="">کارخانه‌های تولید مسکن صنعتی دارند، </A>می‌توانند از تسهیلات ارزی و ریالی این بانک استفاده کنند تصریح کرد: این بخش دارای اشتغال‌زایی بالایی بوده و به طور همزمان یکصد شغل مستقیم و غیرمستقیم ایجاد می‌کند.</P> <P class=rtejustify>وی افزود: صنعت ساختمان سازی در کشورهای توسعه‌نیافته به دلیل پایین بودن سطح بهره‌مندی از صنعتی‌سازی و تکیه بیشتر به نیروی کار انسانی، به سرمایه در گردش بیشتر نیازمند است.</P> <P class=rtejustify>مدیر عامل بانک توسعه تعاون با بیان اینکه تعاونگران در صنعت ساختمان کشور نقش بسیار مهم و مؤثری دارند، بیان کرد: تعاونی‌هایی که در زمینه ساختمانی فعالند چون به دنبال سودآوری&nbsp;نیستند، قیمت تمام شده در ساختمان‌ها پایین‌تر خواهد بود.</P> <P class=rtejustify>عظیمی با اشاره به برگزاری دوازدهمین نمایشگاه بین‌المللی صنعت ساختمان خاطر نشان کرد: این نمایشگاه یک رویداد مهم و فرصت مناسب برای تبادل تجربیات بین تولیدکنندگان و مصرف‌کنندگان محصولات ساختمانی است.</P> <P class=rtejustify>وی با بیان اینکه ساختمان‌سازی، مقاوم‌سازی ساختمان باید براساس معماری ایرانی ـ اسلامی انجام شود، گفت: یکی از ویژگی‌های اصلی صنعت ساختمان، قیمت تمام‌شده آن است که می‌تواند در این نمایشگاه مورد استقبال و توجه تولیدکنندگان و مصرف‌کنندگان قرار گیرد.</P></SPAN> text/html 2012-09-11T10:26:45+01:00 website-design.mihanblog.com ramin h در حاشیه مراسم اختتامیه جشنواره خوشنویس قلم http://website-design.mihanblog.com/post/126 <DIV class=nwstxttoppane> <DIV class=nwstxtnewsinfo><SPAN id=bodyHolder_newstextDetail_nwstxtInfoPane> <DIV class=nwstxtrotitr>در حاشیه مراسم اختتامیه جشنواره خوشنویس قلم</DIV> <DIV class=nwstxtinfotitle>استقبال پرشور هنرمندان خوشنویس از اجرای گروه موسیقی سالار عقیلی</DIV> <P style="LINE-HEIGHT: 160%" class=nwstxtlead>خبرگزاری فارس: گروه راز و نیاز به سرپرستی و خوانندگی سالار عقیلی شب گذشته در مراسم اختتامیه دومین جشنواره خوشنویسی قلم به اجرای برنامه پرداخت که با استقبال پر شور حاضران رو به رو شد.</P></SPAN></DIV> <DIV class=nwstxtpic><SPAN id=bodyHolder_newstextDetail_nwstxtPicPane><IMG title="خبرگزاری فارس: استقبال پرشور هنرمندان خوشنویس از اجرای گروه موسیقی سالار عقیلی" alt="خبرگزاری فارس: استقبال پرشور هنرمندان خوشنویس از اجرای گروه موسیقی سالار عقیلی" src="http://media.farsnews.com/media/Uploaded/Files/Images/1391/06/21/13910621000310_PhotoA.jpg"><BR><FONT face="Times New Roman">●</FONT> گزارش تصویری مرتبط<BR><FONT color=#cccccc>-------------------------------</FONT></SPAN> </DIV></DIV><SPAN id=bodyHolder_newstextDetail_nwstxtBodyPane> <P style="LINE-HEIGHT: 180%" class=nwstxttext> <P class=rtejustify>به گزارش خبرنگار هنرهای تجسمی&nbsp; <A title="" href="http://www.saranuts.com/" target="">Fig</A> فارس،&nbsp;گروه راز و نیاز در میانه مراسم اختتامیه دومین جشنواره خوشنویسی قلم روی صحنه حاضر شدند و با همراهی و سکوت مطلق حاضران به اجرای برنامه خود پرداختند.</P> <P class=rtejustify>سکوت حاضران در حین اجرای برنامه و تشویق‌های پیاپی آن‌ها در پایان هر قطعه گروه رازو نیاز را به شوق آورده بود و سالار عقیلی بابت همراهی حاضران در اجرای یک برنامه خوب تقدیر و تشکر کرد و گفت: معمولاً در برنامه‌های مختلفی که برای اجرای برنامه دعوت می‌شویم،‌عادت کرده‌ایم که در میان گفت‌وگوها و صحبت‌های حاضران ما هم به اجرای برنامه خودمان بپردازیم ولی امشب همه حاضران سراپا گوش بودند و با سکوتشان ما را در اجرای خوب برنامه همراهی کردند که از این بابت از همه متشکرم.</P> <P class=rtejustify>گروه راز و نیاز قطعات مختلفی را اجرا کردند و در پایان برنامه نیز برای تقدیر از همراهی حاضران و پاسخگویی به شور و اشتیاق آن‌ها قطعه ماندگار «وطنم» را اجرا کردند.</P></SPAN> text/html 2012-07-31T10:15:22+01:00 website-design.mihanblog.com ramin h لزوم اجباری شدن برخی بیمه‌ها برای حمایت از مردم/افزایش سرمایه 42 میلیاردی http://website-design.mihanblog.com/post/125 <DIV class=nwstxttoppane> <DIV class=nwstxtnewsinfo><SPAN id=bodyHolder_newstextDetail_nwstxtInfoPane> <DIV class=nwstxtrotitr>در گفت‌وگوی مدیر عامل بیمه رازی با فارس مطرح شد</DIV> <DIV class=nwstxtinfotitle>لزوم اجباری شدن برخی بیمه‌ها برای حمایت از مردم/افزایش سرمایه 42 میلیاردی</DIV> <P style="LINE-HEIGHT: 160%" class=nwstxtlead>خبرگزاری فارس: مدیرعامل بیمه رازی با تاکید بر لزوم اجباری شدن برخی رشته‌های بیمه‌ای گفت: امسال ضمن انجام برنامه‌های ویژه برای گسترش بیمه بیمه عمر با تصویب هیئت مدیره، سرمایه شرکت به 70 میلیارد تومان خواهدرسید.</P></SPAN></DIV> <DIV class=nwstxtpic><SPAN id=bodyHolder_newstextDetail_nwstxtPicPane><IMG title="خبرگزاری فارس: لزوم اجباری شدن برخی بیمه‌ها برای حمایت از مردم/افزایش سرمایه 42 میلیاردی" alt="خبرگزاری فارس: لزوم اجباری شدن برخی بیمه‌ها برای حمایت از مردم/افزایش سرمایه 42 میلیاردی" src="http://media.farsnews.com/media/Uploaded/Files/Images/1391/05/08/13910508000685_PhotoA.jpg"></SPAN> </DIV><SPAN id=bodyHolder_newstextDetail_nwstxtBodyPane> <P style="LINE-HEIGHT: 180%" class=nwstxttext> <P class=rtejustify>در سالهای اخیر با ورود و سرمایه‌گذاری بخش خصوصی&nbsp;در صنعت بیمه کشور شاهد تحرک بیشتری در این&nbsp;بخش هستیم؛به طوری که&nbsp;ضمن افزایش&nbsp;رقابت در این صنعت رشته‌های جدید بیمه‌ای نیز وارد بازار شده است. از این رو مصاحبه ای با یونس مظلومی مدیرعامل بیمه رازی انجام داده‌‌ایم که در زیر می‌خوانید.</P> <P class=rtejustify><STRONG>فارس: وضعیت سرمایه‌گذاری شرکت‌های بیمه چگونه است؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی:</STRONG> چگونگی سرمایه‌گذاری شرکت‌ها در یکی از آیین‌نامه‌های شورای عالی بیمه مشخص شده و تمایل این آیین‌نامه به سرمایه‌گذاری شرکت‌های بیمه در بانک‌ها و اوراق مشارکت است، در حالی که این اقدام با وجود ریسک کم، کمترین بازده را دارد. اخیراً شورای عالی بیمه سقف سرمایه‌گذاری در شرکت‌های بورس را افزایش داده است و در کنار این کار شرکت‌های بیمه در پروژه‌های ساختمانی مشارکت دارند.</P> <P class=rtejustify><STRONG>فارس:&nbsp;با این اوصاف&nbsp; ارزیابی شما از آنچه در آیین‌نامه شورای عالی بیمه&nbsp;آمده&nbsp;، چیست؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی:</STRONG> فکر می‌کنم آیین‌نامه باید تغییر کند تا دست شرکت‌های بیمه برای سرمایه‌گذاری در بخش‌های مختلف&nbsp;باز شود، زیرا ممکن است شرکت‌ها تمایل داشته باشند بیش از سقف درنظر گرفته شده در یک بخش سرمایه‌گذاری کنند.</P> <P class=rtejustify><STRONG>فارس: علت عدم تمایل شرکت‌ها برای پوشش بیمه‌ای صنایع مختلف و بزرگ نشدن بازار بیمه کشور چیست؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی: </STRONG>فکر می‌کنم مشکل اصلی در این زمینه «قانون»است، زمانی در ایران بیمه وجود نداشت تا سال 1314 که شرکت بیمه ایران تأسیس شد، اما تا سال 1348 که قانون بیمه اجباری شخص ثالث تصویب شد، بیمه سهم چندانی در اقتصاد کشور نداشت، اما این قانون به توسعه صنعت بیمه کمک کرد، به طوری که در حال حاضر حدود 60 پرتفوی صنعت بیمه کشور به آن اختصاص دارد. در شرایط فعلی هم&nbsp;نیاز به تصویب قوانین مشابه بیمه شخص ثالث وجود دارد.</P> <P class=rtejustify><STRONG>فارس: یعنی رشته‌های بیمه‌ای اجباری شوند؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی:</STRONG>&nbsp; برای مثال الان&nbsp;در کشور ترکیه بیمه زلزله اجباری است یا در بسیاری از کشورها انواع بیمه‌های مسئولیت اجباری است، زیرا در بسیاری از موارد حاکمیت منافع افراد جامعه را بهتر از تک‌تک افراد تشخیص می‌دهد و این وظیفه حاکمیت است که&nbsp;همانند اقدامی که برای اجباری کردن بیمه شخص ثالث انجام شد، این کار انجام شود و الان هم فکر می‌کنم باید تمام ساختمان‌ها در مقابل زلزله بیمه شوند یا اینکه مسئولیت کارفرمایان در مقابل کارگران باید اجباراً بیمه باشد.</P> <P class=rtejustify><STRONG>فارس: با توجه به شرایط اقتصادی کشور و افزایش سالیانه حق بیمه‌ها ممکن است فشار زیادی به مردم&nbsp;وارد شود&nbsp;نظر شما چیست؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی:</STRONG> به اعتقاد من هزینه‌هایی که می‌گویید تحمیل می‌شود همین حالا هم به جامعه&nbsp;وارد می‌شود و اگر فردی الان نمی‌تواند رقم مثلاً 100 هزار تومان را بپردازد چگونه می‌خواهد خسارت چند ده میلیونی را پرداخت کند. بنابراین اگر الان افراد مجبور به پرداخت مبلغ کمی برای بیمه شوند به نفع آنها است؛ درواقع&nbsp;زمانی که دیه پرداخت می‌شود این هزینه انجام می‌شود و در هر صورت به مجموعه اقتصاد کشور تحمیل می‌شود. به عبارت دیگر اجباری شدن رشته‌های بیمه‌ای هزینه‌های خانوار و اقتصاد کشور را افزایش نمی‌دهد بلکه موجب توزیع این هزینه‌ها در سطح جامعه می‌شود.</P> <P class=rtejustify><STRONG>فارس: با توجه به اتمام زمان اجرای آزمایشی قانون بیمه شخص ثالث در شهریور 92،&nbsp;کارگروهی در بیمه مرکزی در&nbsp; حال بازنگری این قانون است. نظرات اصلاحی شما به کدام بخش‌های این قانون است؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی: </STRONG>ما<A title="" href="http://brouchure.mihanblog.com/" target="">نظرات اصلاحی خود را در سندیکای بیمه‌گران مطرح کرده و این نظرات جمع‌بندی </A>شده است و با هماهنگی بیمه مرکزی این نظرات به مراجع تصمیم‌گیر از جمله مجلس شورای اسلامی ارسال خواهد شد. از مهمترین محورهای قانون شخص ثالث که نیاز به اصلاح دارد می‌توان به تعیین فرد بیمه‌گذار، شفافیت تعدد دیات، نحوه تعیین حق بیمه، اصلاح عوارض بیمه شخص ثالث و نحوه رسیدگی به خسارات مالی و جانی اشاره کرد.</P> <P class=rtejustify><STRONG>فارس: نظر شما در مورد&nbsp;تخلف برخی شرکت‌ها&nbsp;در عدم اعلام صحیح خسارات معوق سالیانه چیست؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی:</STRONG> شرکتی که خسارت‌های معوقش را کمتر اعلام می‌کند زیان مستقیم آن متوجه خودش می‌شود زیرا یک سود غیر واقعی را شناسایی کرده، اما نکته جالب این است که زمانی که شرکت بیمه، خسارت معوق خود را واقعی اعلام می‌کند، با این سؤال نهاد ناظر مواجه می‌شود که چرا رقم خسارت‌های معوق شما در مقایسه با سایر شرکت‌ها زیاد است؟ در حالی که باید از شرکتی که خسارت معوق کمی اعلام می‌کند این سؤال پرسیده&nbsp;شود و در واقع ضرر اعلام غیرواقعی خسارات متوجه خود شرکت است نه بیمه‌گذاران.</P> <P class=rtejustify><STRONG>فارس:‌ در مورد فعالیت‌های بیمه رازی و افزایش سرمایه شرکت توضیح دهید.</STRONG></P> <P class=rtejustify><STRONG>مظلومی: </STRONG>شرکت ما یکی از چهار شرکتی است که به صورت خصوصی برای اولین‌بار وارد صنعت بیمه شدند و با شناسایی اولویت‌ها کار خود را با بیمه موتورسیکلت آغاز کردیم و در این زمینه تجارب خوبی داریم. اما در تصمیم‌گیری اخیر بیمه مرکزی برای بیمه موتورسیکلت هیچ‌گونه صحبتی با بیمه رازی نشد. ما نظر خود را در این مورد اعلام کردیم. اما در مورد افزایش سرمایه باید بگویم اخیراً با تصویب هیئت مدیره مقرر شد با رعایت مصوبه دولت مبنی بر افزایش سرمایه از محل تجدید ارزیابی دارایی‌ها سرمایه بیمه رازی از 28 میلیارد به 70 میلیارد تومان افزایش دهیم.</P> <P class=rtejustify><STRONG>فارس: فعالیت بیمه رازی در بیمه عمر در چه وضعیتی است؟</STRONG></P> <P class=rtejustify><STRONG>مظلومی:</STRONG> در زمینه بیمه عمر از اوایل سال گذشته به طور جدی فعال شدیم به طوری که هم ‌اکنون 9 درصد از پرتفوی شرکت را بیمه عمر تشکیل می‌دهد و اخیراً&nbsp; سه طرح جدید در زمینه بیمه عمر به نام‌های مهتاب، امید و افق آماده عرضه در بازار بیمه کشور است&nbsp;که تا دو ماه آینده رونمایی می‌شود؛همچنین برای گسترش بیمه عمر 380 نماینده بیمه عمر جذب کرده‌ایم که اختصاصاً در رشته بیمه عمر فعالیت می‌کنند.</P></SPAN></DIV> text/html 2012-07-24T10:26:25+01:00 website-design.mihanblog.com ramin h برگزاری مشاعره قرآنی و شعرخوانی میرزایی در سالن شعر و ادب نمایشگاه قرآن http://website-design.mihanblog.com/post/124 <DIV class=nwstxtnewsinfo><SPAN id=bodyHolder_newstextDetail_nwstxtInfoPane> <DIV class=nwstxtrotitr></DIV> <DIV class=nwstxtinfotitle>برگزاری مشاعره قرآنی و شعرخوانی میرزایی در سالن شعر و ادب نمایشگاه قرآن</DIV> <P style="LINE-HEIGHT: 160%" class=nwstxtlead>خبرگزاری فارس: سیدناصر هاشم‌زاده و محمد سعید میرزایی امشب میهمانان سالن شعر و ادب نمایشگاه قرآن هستند.</P></SPAN></DIV> <DIV class=nwstxtpic><SPAN id=bodyHolder_newstextDetail_nwstxtPicPane><IMG title="خبرگزاری فارس: برگزاری مشاعره قرآنی و شعرخوانی میرزایی در سالن شعر و ادب نمایشگاه قرآن" alt="خبرگزاری فارس: برگزاری مشاعره قرآنی و شعرخوانی میرزایی در سالن شعر و ادب نمایشگاه قرآن" src="http://media.farsnews.com/media/Uploaded/Files/Images/1391/03/06/162320_PhotoA.jpg"></SPAN> </DIV><SPAN id=bodyHolder_newstextDetail_nwstxtBodyPane> <P style="LINE-HEIGHT: 180%" class=nwstxttext> <P class=rtejustify>به گزارش خبرنگار کتاب و ادبیات خبرگزاری فارس، همانند شب‌های پیشین قرار است هر شب برنامه های متفاوتی سالن شعر و ادب بیستمین نمایشگاه بین‌المللی قرآن برگزار شود. <P class=rtejustify> <P class=rtejustify>از جمله می‌توان <A title="" href="http://http//www.saranuts.com" target="">به مشاعره قرآنی اشاره کرد که از ساعت 19:30 برگزار خواهد شد، در ادامه سیدناصر هاشم زاده </A>از ساعت 22 سخنرانی داشته و با حضور محمد سعید میرزایی مراسم شعرخوانی از ساعت 22:40 برپا خواهد شد. <P class=rtejustify> <P class=rtejustify>گفتنی است، سیدناصر هاشم زاده برای آخرین شب در مقابل علاقه‌مندان سخنرانی خواهد کرد، از آثار تحقیقی و ترجمه این نویسنده می‌توان به: انصارالحسین، عیار دانش، فرمان (عهدنامه) اشاره کرد. <P class=rtejustify> <P class=rtejustify>این برنامه در شبستان اصلی روبروی بخش کودک، سالن شعر و ادب برگزار خواهد شد.</P></SPAN> text/html 2012-07-22T10:58:23+01:00 website-design.mihanblog.com ramin h معاون قوه قضاییه خواستار شد: مشاركت كارآموزان قضایی در انعكاس مشكلات دوره كارآموزی http://website-design.mihanblog.com/post/123 <DIV class=titrpart> <DIV class=rutitr> <H2></H2></DIV> <DIV class=titr> <H1> <P><FONT size=5 face="B Nazanin">معاون قوه قضاییه خواستار شد: مشاركت كارآموزان قضایی در انعكاس مشكلات دوره كارآموزی </FONT></P></H1></DIV> <DIV> <DIV class=cervees>» سرویس: معارف و حقوق - حقوقی و قضایی </DIV> <DIV class=metadata> <DIV>کد خبر: <SPAN class=newsCode>91050100447</SPAN> </DIV> <DIV class=newsPubDate>یکشنبه ۱ مرداد ۱۳۹۱ - ۱۲:۴۷</DIV></DIV></DIV></DIV> <DIV class=body> <DIV class=main-image><A href="http://isna.ir/fa/photo/91050100447/معاون-قوه-قضاییه-خواستار-شد-مشاركت-كارآموزان" target=_blank><IMG class=thumb3 title="امینی معاون آموزش قوه قضاییه" alt=80008966-2312266.jpg src="http://media.isna.ir/content/80008966-2312266.jpg/3"> </A></DIV> <P>جلسه هم‌اندیشی در خصوص راهكارهای طی مشكلات دوره كارآموزی با حضور معاون آموزش و تحقیقات قوه قضاییه و نمایندگان دوره‌های كارآموزی قضایی در سه محور مسایل صنفی، محتوای آموزشی و مشكلات اجرایی دوره‌ها برگزار شد. </P> <P></P> <P></P> <P></P> <P>به گزارش خبرگزاری دانشجویان ایران (ایسنا)، حجت‌الاسلام امینی طی سخنانی در این نشست مشاركت هرچه بیشتر كارآموزان در انعكاس مسائل و مشكلات دوره‌های كارآموزی و ارائه نظرات كارشناسی جهت بهبود روند آموزش‌های كارآموزی را خواستار شد. </P> <P></P> <P></P> <P></P> <P></P> <P>وی با اشاره به آیین‌نامه‌محور بودن تمامی فعالیت‌های اداری و آموزشی در قوه قضاییه، خواستار توجه به آیین‌نامه‌های كارآموزی شد و اظهار كرد: در عین نقدپذیربودن این آیین‌نامه‌ها، باید نظرات اصلاحی شما در آیین‌نامه جدید مد نظر قرار گیرد و تا قبل از تصویب آن، آیین‌نامه قبلی لازم‌الاجراست. </P> <P></P> <P></P> <P></P> <P></P> <P>در ادامه این نشست، كارآموزان قضایی به بیان مبسوط مسائل و مشكلاتی پیرامون نحوه تقسیم پس از پایان دوره، مسائل فرهنگی و تفریحی، مسائل مالی و رفاهی، نحوه آموزش‌های علمی، كارگاهی و آزمون جامع و وضعیت اساتید دوره پرداختند. </P> <P></P> <P></P> <P></P> <P>در پایان نیز مقرر شد كه این جلسات جهت پیگیری مسائل مطرح شده و ارائه پیشنهادات مشخص به معاون آموزش و تحقیقات به طور مستمر برگزار شود. </P></DIV> text/html 2012-07-15T06:11:07+01:00 website-design.mihanblog.com ramin h فداحسین مالكی رییس ستاد مبارزه با قاچاق کالا و ارز شد http://website-design.mihanblog.com/post/122 <DIV class=titrpart> <DIV class=rutitr> <H2>با حكم رییس جمهور؛</H2></DIV> <DIV class=titr> <H1> <P><FONT size=5 face="B Nazanin">فداحسین مالكی رییس ستاد مبارزه با قاچاق کالا و ارز شد </FONT></P></H1></DIV> <DIV> <DIV class=cervees>» سرویس: سیاسی - دولت </DIV> <DIV class=metadata> <DIV>کد خبر: <SPAN class=newsCode>91042514693</SPAN> </DIV> <DIV class=newsPubDate>یکشنبه ۲۵ تیر ۱۳۹۱ - ۰۹:۰۷</DIV></DIV></DIV></DIV> <DIV class=body> <DIV class=main-image><A href="http://isna.ir/fa/photo/91042514693/فداحسین-مالكی-رییس-ستاد-مبارزه-با-قاچاق-کالا" target=_blank><IMG class=thumb3 title="رییس‌جمهور - ابلاغ" alt=221-4.jpg src="http://media.isna.ir/content/221-4.jpg/3"> </A></DIV> <P>رییس جمهور در حکمی فداحسین مالكی را به عنوان «رییس ستاد مبارزه با قاچاق كالا و ارز» منصوب کرد. </P> <P></P> <P></P> <P>به گزارش گروه دریافت خبر خبررگزاری دانشجویان ایران (ایسنا)،متن حکم دکتر محمود احمدی نژاد بدین شرح است: </P> <P></P> <P></P> <P>بسم‌الله الرحمن الرحیم </P> <P></P> <P></P> <P>جناب آقای فداحسین مالكی </P> <P></P> <P></P> <P>نظر به تعهد و تجارب ارزشمند جنابعالی، شما را به عنوان «رییس ستاد مبارزه با قاچاق كالا و ارز» منصوب می‌كنم. </P> <P></P> <P></P> <P>اقتصاد توانمند و پویا در گرو پایداری قوانین و مقررات تجاری، صیانت از سرمایه ملی، حمایت قانونمند و بموقع از فعالان اقتصادی و صاحبان سرمایه و نیز مبارزه مستمر، قاطع و موثر با قاچاق كالا و ارز می‌باشد كه تحقق این شرایط منجر به تقویت تولید ملی و تشویق سرمایه‌گذاران مسئولیت‌پذیر خواهد شد. تصمیم‌گیری در عرصه مبارزه با پدیده و شبكه قاچاق كالا و ارز به تدبیر و قاطعیت در برابر هرگونه تخلف و از ناحیه هر كس نیازمند است. </P> <P></P> <P></P> <P>انتظار می‌رود كه آن ستاد با بهره‌گیری از همفكری و همكاری مجموعه‌های مسئول مرتبط و نیز صاحبان علم و تجربه در جهت دستیابی به نتایج مطلوب مساعی لازم را به عمل آورید. بدیهی است همه دستگاه‌های اجرایی در جهت مبارزه با قاچاقچیان كالا و ارز موظف به هماهنگی با آن ستاد می‌باشند. </P> <P></P> <P></P> <P>از خداوند متعال توفیق جنابعالی و همكاران ارجمند را در انجام این مأموریت مهم خواستارم. </P> <P></P> <P>محمود احمدی‌نژاد </P></DIV> text/html 2012-07-14T08:12:06+01:00 website-design.mihanblog.com ramin h عضو کارگروه حمایت از تولید در گفت‌وگو با فارس تشریح کرد http://website-design.mihanblog.com/post/121 <DIV class=nwstxttoppane> <DIV class=nwstxtnewsinfo><SPAN id=bodyHolder_newstextDetail_nwstxtInfoPane> <DIV class=nwstxtrotitr>عضو کارگروه حمایت از تولید در گفت‌وگو با فارس تشریح کرد</DIV> <DIV class=nwstxtinfotitle>پیگیری مصوبه ساماندهی تبلیغ کالاهای خارجی در کارگروه حمایت از تولید</DIV> <P style="LINE-HEIGHT: 160%" class=nwstxtlead>خبرگزاری فارس: عضو کارگروه حمایت از تولید گفت: اگر مصوبه اخیر شورای شهر در مورد ساماندهی تبلیغ کالاهای خارجی کفایت نکند، کارگروه حمایت از تولید این موضوع را پیگیری خواهد کرد.</P></SPAN></DIV> <DIV class=nwstxtpic><SPAN id=bodyHolder_newstextDetail_nwstxtPicPane><IMG title="خبرگزاری فارس: پیگیری مصوبه ساماندهی تبلیغ کالاهای خارجی در کارگروه حمایت از تولید" alt="خبرگزاری فارس: پیگیری مصوبه ساماندهی تبلیغ کالاهای خارجی در کارگروه حمایت از تولید" src="http://media.farsnews.com/media/Uploaded/Files/Images/1391/02/11/13910211000325_PhotoA.jpg"></SPAN> </DIV><SPAN id=bodyHolder_newstextDetail_nwstxtBodyPane> <P style="LINE-HEIGHT: 180%" class=nwstxttext> <P style="TEXT-ALIGN: justify" class=rtejustify>آرمان خالقی در&nbsp;گفت‌وگو با خبرنگار اقتصادی خبرگزاری فارس&nbsp;با اشاره به مصوبه شورای شهر در مورد ساماندهی تبلیغات کالاهای خارجی، اظهار داشت: امیدواریم با این مصوبه حمایت از تولید داخل و جلوگیری از تبلیغات بی‌رویه محصولات خارجی صورت گیرد.</P> <P style="TEXT-ALIGN: justify" class=rtejustify>وی تصریح کرد: شورای شهر لایحه‌ای‌ یک فوریتی برای این موضوع تهیه کرده که از طریق آن، امکان استفاده از توان داخلی و کمک به ساخت محصولات ایرانی صورت خواهد گرفت.</P> <P style="TEXT-ALIGN: justify" class=rtejustify>خالقی ادامه داد: در صورتی که این مصوبه نیاز بخش صنعت را تأمین کند، اجرای آن در کشور کافی خواهد بود،اما اگر کفایت نکند کارگروه حمایت از تولید در این مسئله ورود پیدا می‌کند.</P> <P style="TEXT-ALIGN: justify" class=rtejustify>وی افزود: اگر مصوبه شورای شهر به اندازه کافی منافع تولید‌کنندگان را تأمین نکند، کارگروه حمایت از تولید در مورد ساماندهی تبلیغات خارجی وارد عمل خواهد شد.</P></SPAN></DIV> text/html 2011-08-25T13:38:47+01:00 website-design.mihanblog.com ramin h Designing for iOS: Life Beyond Media Queries http://website-design.mihanblog.com/post/120 Designing for iOS: Life Beyond Media Queries <P>by Sarah Parmenter</P> <UL> <LI id=goto-article>Article</LI> <LI id=goto-comments><STRONG>63</STRONG> comments</LI></UL><!-- meta --> <DIV id=article> <P>Although not a new phenomenon, media queries seem to be getting a lot attention online recently and for the right reasons too – it’s great to be able to adapt a design with just a few lines of <SPAN class=caps>CSS</SPAN> – but many people are relying only on them to create an iPhone-specific version of their website. </P> <P>I was pleased to hear at <ACRONYM title="Future of Web Design"><SPAN class=caps>FOWD</SPAN></ACRONYM> <ACRONYM title="New York City"><SPAN class=caps>NYC</SPAN></ACRONYM> a few weeks ago that both myself and Aral Balkan share the same views on why media queries <EM>aren’t always</EM> going to be the best solution for mobile. Both of us specialise in iPhone design ourselves and we opt for a different approach to media queries. The trouble is, regardless of what you have carefully selected to be <CODE>display:none;</CODE> in your <SPAN class=caps>CSS</SPAN>, the iPhone still loads <STRONG>everything</STRONG> in the background; all that large imagery for your full scale website also takes up valuable mobile bandwidth and time.</P> <P>You can greatly increase the speed of your website by creating a specific site tailored to mobile users with just a few handy pointers – media queries, in some instances, might be perfectly suitable but, in others, here’s what you can do.</P> <H3>Redirect your iPhone/iPod Touch users</H3> <P>To detect whether someone is viewing your site on an iPhone or iPod Touch, you can either use JavaScript or <SPAN class=caps>PHP</SPAN>. </P> <H4>The JavaScript </H4><PRE><CODE>if((navigator.userAgent.match(/iPhone/i)) || (navigator.userAgent.match(/iPod/i))) { if (document.cookie.indexOf("iphone_redirect=false") == -1) window.location = "http://mobile.yoursitehere.com"; } </CODE></PRE> <H4>The <SPAN class=caps>PHP</SPAN></H4><PRE><CODE>if(strstr($_SERVER['HTTP_USER_AGENT'],'iPhone') || strstr($_SERVER['HTTP_USER_AGENT'],'iPod')) { header('Location: http://mobile.yoursitehere.com'); exit(); } </CODE></PRE> <P>Both of these methods redirect the user to a site that you have made specifically for the iPhone. At this point, be sure to provide a link to the full version of the website, in case the user wishes to view this and <EM>not</EM> be thrown into an experience they didn’t want, with no way back.</P> <H3>Tailoring your site</H3> <P>So, now you’ve got 320 × 480 pixels of screen to play with – and to create a style sheet for, just as you would for any other site you build. There are a few other bits and pieces that you can add to your code to create a site that feels more like a fully immersive iPhone app rather than a website.</P> <H4>Retina display</H4> <P>When building your website specifically tailored to the iPhone, you might like to go one step further and create a specific style sheet for iPhone 4’s Retina display. Because there are four times as many pixels on the iPhone 4 (640 × 960 pixels), you’ll find specifics such as text shadows and borders will have to be increased. </P><PRE><CODE>&lt;link rel="stylesheet" media="only screen and (-webkit-min-device-pixel-ratio: 2)" type="text/css" href="../iphone4.css" /&gt; </CODE></PRE> <P>(Credit to Thomas Maier)</P> <H4>Prevent user scaling</H4> <P>This declaration, added into the <CODE>&lt;head&gt;</CODE>, stops the user being able to pinch-zoom in and out of your design, which is perfect if you are designing to the exact pixel measurements of the iPhone screen. </P><PRE><CODE>&lt;meta name="viewport" content="width=device-width; initial-scale=1.0; maximum-scale=1.0;"&gt; </CODE></PRE> <H4>Designing for orientation </H4> <P>As iPhones aren’t static devices, you’ll also need to provide a style sheet for horizontal orientation. We can do this by inserting some JavaScript into the <CODE>&lt;head&gt;</CODE> as follows: </P><PRE><CODE>&lt;script type="text/javascript"&gt; function orient() { switch(window.orientation) { case 0: document.getElementById("orient_css").href = "css/iphone_portrait.css"; break; case -90: document.getElementById("orient_css").href = "css/iphone_landscape.css"; break; case 90: document.getElementById("orient_css").href = "css/iphone_landscape.css"; break; } } window.onload = orient(); &lt;/script&gt; </CODE></PRE> <P>You can also specify orientation styles using media queries. This is absolutely fine, as by this point you’ll already be working with mobile-specific graphics and have little need to set a lot of things to <CODE>display:none;</CODE></P><PRE><CODE>&lt;link rel="stylesheet" media="only screen and (max-device-width: 480px)" href="/iphone.css"&gt; &lt;link rel="stylesheet" media="only screen and (orientation: portrait)" href="/portrait.css"&gt; &lt;link rel="stylesheet" media="only screen and (orientation: landscape)” href="/landscape.css"&gt; </CODE></PRE> <H4>Remove the address and status bars, top and bottom</H4> <P>To give you more room on-screen and to make your site feel more like an immersive web app, you can place the following declaration into the <CODE>&lt;head&gt;</CODE> of your document’s code to remove the address and status bars at the top and bottom of the screen. </P><PRE><CODE>&lt;meta name="apple-mobile-web-app-capable" content="yes" /&gt; </CODE></PRE> <H4>Making the most of inbuilt functions</H4> <P>Similar to <CODE>mailto:</CODE> e-mail links, the iPhone also supports another two handy <SPAN class=caps>URI</SPAN> schemes which are great for enhancing contact details. When tapped, the following links will automatically bring up the appropriate call or text interface:</P><PRE><CODE>&lt;a href="tel:01234567890"&gt;Call us&lt;/a&gt; &lt;a href="sms:01234567890"&gt;Text us&lt;/a&gt; </CODE></PRE> <H4>iPhone-specific Web Clip icon</H4> <P>Although I believe them to be fundamentally flawed, since they rely on the user bookmarking your site, iPhone Web Clip icons are still a nice touch. You need just two declarations, again in the <CODE>&lt;head&gt;</CODE> of your document:</P><PRE><CODE>&lt;link rel="apple-touch-icon" href="icons/regular_icon.png" /&gt; &lt;link rel="apple-touch-icon" sizes="114x114" href="icons/retina_icon.png" /&gt; </CODE></PRE> <P>For iPhone 4 you’ll need to create a 114 × 114 pixels icon; for a non-Retina display, a 57 × 57 pixels icon will do the trick.</P> <H5>Precomposed </H5> <P>Apple adds its standard gloss ‘moon’ over the top of any icon. If you feel this might be too much for your particular icon and would prefer a matte finish, you can add <CODE>precomposed</CODE> to the end of the <CODE>apple-touch-icon</CODE> declaration to remove the standard gloss. </P><PRE><CODE>&lt;link rel="apple-touch-icon-precomposed" href="/images/touch-icon.png" /&gt; </CODE></PRE> <H3>Wrapping up</H3> <P>Media queries definitely have their uses. They make it easy to build a custom experience for your visitor, regardless of their browser’s size. For more complex sites, however, or where you have lots of imagery and other content that isn’t necessary on the mobile version, you can now use these other methods to help you out. Remember, they are purely for presentation and not optimisation; for busy people on the go, optimisation and faster-running mobile experiences can only be a good thing. </P> <P>Have a wonderful Christmas fellow Webbies!</P></DIV> text/html 2011-08-25T13:38:02+01:00 website-design.mihanblog.com ramin h Sketching to Communicate http://website-design.mihanblog.com/post/119 Sketching to Communicate <P>by Paul Annett</P><!-- meta --> <DIV id=article> <P>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.</P> <P>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.</P> <H3>Why sketch?</H3> <P>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… ;-)</P> <P>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!</P> <H3>Where to begin?</H3> <P>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!), <CITE>Wreck This Journal</CITE> 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.</P> <P>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.</P> <P class=image><IMG alt="Pro Markers" src="http://media.24ways.org/2010/annett/promarkers.jpg"> <SPAN class=caption>photo by Tom Harrison</SPAN></P> <P>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.</P> <P>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.</P> <P>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.</P> <H3>Sketching web UI</H3> <P>Most elements of any website can be drawn as a combination of geometric shapes.</P> <P class=image><IMG alt="UI sketch" src="http://media.24ways.org/2010/annett/sketch.jpg"> <SPAN class=caption>photo by Nathanael Boehm</SPAN></P> <H4>Circles</H4> <P>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.</P> <H4>Squares and rectangles</H4> <P>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.</P> <P class=image><IMG alt="Sketch of some squares" src="http://media.24ways.org/2010/annett/squares.png"></P> <H4>Shadows</H4> <P>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.</P> <P class=image><IMG alt="A speech bubble with a shadow" src="http://media.24ways.org/2010/annett/shadow.png"></P> <H3>Sketching ideas</H3> <H4>Arrows</H4> <P>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.</P> <P class=image><IMG alt="Sketch of an arrow" src="http://media.24ways.org/2010/annett/arrow.png"></P> <H4>Faces</H4> <P>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.</P> <P class=image><IMG alt="Sketch of some faces" src="http://media.24ways.org/2010/annett/faces.png"></P> <H4>People</H4> <P>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.</P> <P class=image><IMG alt="Sketch of a man pointing" src="http://media.24ways.org/2010/annett/man.png"></P> <P>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.</P> <H4>Signage</H4> <P>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!</P> <P class=image><IMG alt="Sketch of an office" src="http://media.24ways.org/2010/annett/office.png"></P> <H4>Labels</H4> <P>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.</P> <H4>Clichés</H4> <P>Clichés are your friend! Someone’s having an idea? Light bulb above the head. Computer’s crashed? Cloud of smoke with “$£%*!”</P> <P class=image><IMG alt="Sketch of a computer that has crashed" src="http://media.24ways.org/2010/annett/pc-crash.png"></P> <P class=image><IMG alt="Sketch of a glowing lightbulb" src="http://media.24ways.org/2010/annett/lightbulb.png"></P> <P>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.</P> <P>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!</P> <P><STRONG>Tip:</STRONG> 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.</P> <P>For more information see davegrayinfo.com – Dave Gray taught me everything I know :-)</P></DIV> text/html 2011-08-25T13:37:24+01:00 website-design.mihanblog.com ramin h Put Yourself in a Corner http://website-design.mihanblog.com/post/118 Put Yourself in a Corner <P>by Meagan Fisher</P><!-- meta --> <DIV id=article> <H3 style="MARGIN-TOP: 0px">Some backstory, and a shameful confession</H3> <P>For the first couple years of high school I was one of those jerks who made only the minimal required effort in school. Strangely enough, how badly I behaved in a class was always in direct proportion to how skilled I was in the subject matter. In the subjects where I was confident that I could pass without trying too hard, I would give myself added freedom to goof off in class.</P> <P>Because I was a closeted lit-nerd, I was most skilled in English class. I’d devour and annotate required reading over the weekend, I knew my biblical and mythological allusions up and down, and I could give you a postmodern interpretation of a text like nobody’s business. But in class, I’d sit in the back and gossip with my friends, nap, or scribble patterns in the margins of my textbooks. I was nonchalant during discussion, I pretended not to listen during lectures. I secretly knew my stuff, so I did well enough on tests, quizzes, and essays. But I acted like an ass, and wasn’t getting the most I could out of my education.</P> <H4>The day of humiliation, but also epiphany</H4> <P>One day in Ms. Kaney’s AP English Lit class, I was sitting in the back doodling. An earbud was dangling under my sweater hood, attached to the CD player (remember those?) sitting in my desk. Because of this auditory distraction, the first time Ms. Kaney called my name, I barely noticed. I definitely heard her the second time, when she didn’t call my name so much as roar it. I can still remember her five feet frame stomping across the room and grabbing an empty desk. It screamed across the worn tile as she slammed it next to hers. She said, “This is where you sit now.” My face gets hot just thinking about it.</P> <P>I gathered my things, including the CD player (which was now impossible to conceal), and made my way up to the newly appointed Seat of Shame. There I sat, with my back to the class, eye-to-eye with Ms. Kaney. From my new vantage point I couldn’t see my friends, or the clock, or the window. All I saw were Ms. Kaney’s eyes, peering at me over her reading glasses while I worked. In addition to this punishment, I was told that from now on, not only would I participate in class discussions, but I would serve detention with her once a week until an undetermined point in the future.</P> <P>During these detentions, Ms. Kaney would give me new books to read, outside the curriculum, and added on to my normal homework. They ranged from classics to modern novels, and she read over my notes on each book. We’d discuss them at length after class, and I grew to value not only our private discussions, but the ones in class as well. After a few weeks, there wasn’t even a question of this being punishment. It was heaven, and I was more productive than ever.</P> <H3>To the point</H3> <P>Please excuse this sentimental story. It’s not just about honoring a teacher who cared enough to change my life, it’s really about sharing a lesson. The most valuable education Ms. Kaney gave me had nothing to do with literature. She taught me that I (and perhaps other people who share my special brand of crazy) need to be put in a corner to flourish. When we have physical and mental constraints applied, we accomplish our best work.</P> <P>For those of you still reading, now seems like a good time to insert a pre-emptive word of mediation. Many of you, maybe all of you, are self-disciplined enough that you don’t require the rigorous restrictions I use to maximize productivity. Also, I know many people who operate best in a stimulating and open environment. I would advise everyone to seek and execute techniques that work best for them. But, for those of you who share my inclination towards daydreams and digressions, perhaps you’ll find something useful in the advice to follow.</P> <H3>In which I pretend to be Special Agent Olivia Dunham</H3> <P>Now that I’m an adult, and no longer have Ms. Kaney to reign me in, I have to find ways to put myself in the corner. By rejecting distraction and shaping an environment designed for intense focus, I’m able to achieve improved productivity.</P> <P>Lately I’ve been obsessed with the TV show Fringe, a sci-fi series about an <SPAN class=caps>FBI</SPAN> agent and her team of genius scientists who save the world (no, <SPAN class=caps>YOU</SPAN>’RE a nerd). There’s a scene in the show where the primary character has to delve into her subconscious to do extraordinary things, and she accomplishes this by immersing herself in a sensory deprivation tank. The premise is this: when enclosed in a space devoid of sound, smell, or light, she will enter a new plane of consciousness wherein she can tap into new levels of perception.</P> <P>This might sound a little nuts, but to me this premise has some real-world application. When I am isolated from distraction, and limited to only the task at hand, I’m able to be productive on a whole new level. Since I can’t actually work in an airtight iron enclosure devoid of input, I find practical ways to create an interruption-free environment.</P> <P>Since I work from home, many of my methods for coping with distractions wouldn’t be necessary for my office-bound counterpart. However for some of you 9-to-5-ers, the principles will still apply.</P> <H4>Consider your visual input</H4> <P>First, I have to limit my scope to the world I can (and need to) affect. In the largest sense, this means closing my curtains to the chaotic scene of traffic, birds, the post office, a convenience store, and generally lovely weather that waits outside my window. When the curtains are drawn and I’m no longer surrounded by this view, my sphere is reduced to my desk, my TV, and my cat. Sometimes this step alone is enough to allow me to focus. </P> <P>But, my visual input can be whittled down further still. For example, the desk where I usually keep my laptop is littered with twelve owl figurines, a globe, four books, a three-pound weight, and various nerdy paraphernalia (hard drives, Wacom tablets, unnecessary bluetooth accessories, and so on). It’s not so much a desk as a dumping ground for wacky flea market finds and impulse technology buys. Therefore, in addition to this Official Desk, I have an adult version of Ms. Kaney’s Seat of Shame. It’s a rusty old student’s desk I picked up at the Salvation Army, almost an exact replica of the model Ms. Kaney dragged across the classroom all those years ago. This tiny reproduction Seat of Shame is literally in a corner, where my only view is a blank wall. When I truly need to focus, this is where I take refuge, with only a notebook and a pencil (and occasionally an iPad).</P> <H4>Find out what works for your ears</H4> <P>Even from my limited sample size of two people, I know there are lots of different ways to cope with auditory distraction. I prefer silence when focused on independent work, and usually employ some form of a white noise generator. I’ve yet to opt for the fancy ‘real’ white noise machines; instead, I use a desktop fan or our allergy filter machine. This is usually sufficient to block out the sounds of the dishwasher and the cat, which allows me to think only about the task of hand.</P> <P>My boyfriend, the other half of my extensive survey, swears by another method. He calls it The Wall of Sound, and it’s basically an intense blast of raucous music streamed directly into his head. The outcome of his technique is really the same as mine; he’s blocking out unexpected auditory input. If you can handle the grating sounds of noisy music while working, I suggest you give The Wall of Sound a try.</P> <H4>Don’t count the minutes</H4> <P>When I sat in the original Seat of Shame in lit class, I could no longer see the big classroom clock slowly ticking away the seconds until lunch. Without the marker of time, the class period often flew by. The same is true now when I work; the less aware of time I am, the less it feels like time is passing too quickly or slowly, and the more I can focus on the task (not how long it takes). </P> <P>Nowadays, to assist in my effort to forget the passing of time, I sometimes put a sticky note over the clock on my monitor. If I’m writing, I’ll use an app like WriteRoom, which blocks out everything but a simple text editor. </P> <P>There are situations when it’s not advisable to completely lose track of time. If I’m working on a project with an hourly rate and a tight scope, or if I need to be on time to a meeting or call, I don’t want to lose myself in the expanse of the day. In these cases, I’ll set an alarm that lets me know it’s time to reign myself back in (or on some days, take a shower).</P> <H3>Put yourself in a mental corner, too</H3> <P>When Ms. Kaney took action and forced me to step up my game, she had the insight to not just change things physically, but to challenge me mentally as well. She assigned me reading material outside the normal coursework, then upped the pressure by requiring detailed reports of the material. While this additional stress was sometimes uncomfortable, it pushed me to work harder than I would have had there been less of a demand. Just as there can be freedom in the limitations of a distraction-free environment, I’d argue there is liberty in added mental constraints as well.</P> <H4>Deadlines as a constraint</H4> <P>Much has been written about the role of deadlines in the creative process, and they seem to serve different functions in different cases. I find that deadlines usually act as an important constraint and, without them, it would be nearly impossible for me to ever consider a project finished. There are usually limitless ways to improve upon the work I do and, if there’s no imperative for me to be done at a certain point, I will revise ad infinitum. (Hence, the personal site redesign that will never end – Coming Soon, Forever!). But if I have a clear deadline in mind, there’s a point when the obsessive tweaking has to stop. I reach a stage where I have to gather up the nerve to launch the thing.</P> <H4>Putting the pro in procrastination</H4> <P>Sometimes I’ve found that my tendency to procrastinate can help my productivity. <EM>(Ducks, as half the internet throws things at her.)</EM> I understand the reasons why procrastination can be harmful, and why it’s usually a good idea to work diligently and evenly towards a goal. I try to divide my projects up in a practical way, and sometimes I even pull it off. But for those tasks where you work aimlessly and no focus comes, or you find that every other to-do item is more appealing, sometimes you’re forced to bring it together at the last moment. And sometimes, this environment of stress is a formula for magic. Often when I’m down to the wire and have no choice but to produce, my mind shifts towards a new level of clarity. There’s no time to endlessly browse for inspiration, or experiment with convoluted solutions that lead nowhere.</P> <P>Obviously a life lived perpetually on the edge of a deadline would be a rather stressful one, so it’s not a state of being I’d advocate for everyone, all the time. But every now and then, the work done when I’m down to the wire is my best.</P> <H4>Keep one toe outside your comfort zone</H4> <P>When I’m choosing new projects to take on, I often seek out work that involves an element of challenge. Whether it’s a design problem that will require some creative thinking, or a coding project that lends itself to using new technology like HTML5, I find a manageable level of difficulty to be an added bonus. The tension that comes from learning a new skill or rethinking an old standby is a useful constraint, as it keeps the work interesting, and ensures that I continue learning.</P> <H3>There you have it</H3> <P>Well, I think I’ve spilled most of my crazy secrets for forcing my easily distracted brain to focus. As with everything we web workers do, there are an infinite number of ways to encourage productivity. I hope you’ve found a few of these to be helpful, and please share your personal techniques in the comments. Have a happy and productive new year!</P></DIV> text/html 2011-08-25T13:36:45+01:00 website-design.mihanblog.com ramin h A Contentmas Epiphany http://website-design.mihanblog.com/post/117 A Contentmas Epiphany <P>by Relly Annett-Baker</P><!-- meta --> <DIV id=article> <P>The twelve days of Christmas fall between 25 December, Christmas Day, and 6 January, the Epiphany of the Kings. Traditionally, these have been holidays and a lot of us still take a good proportion of these days off. Equally, a lot of us have a got a personal site kicking around somewhere that we sigh over and think, “One day I’ll sort you out!” Why not take this downtime to give it a big ol’ refresh? I know, good idea, huh?</P> <P><SPAN class=caps>HEY</SPAN> <SPAN class=caps>WAIT</SPAN>! <SPAN class=caps>WOAH</SPAN>! NO-ONE’S <SPAN class=caps>TOUCHING</SPAN> <SPAN class=caps>PHOTOSHOP</SPAN> OR <SPAN class=caps>DOING</SPAN> <SPAN class=caps>ANY</SPAN> <SPAN class=caps>CSS</SPAN> <SPAN class=caps>FANCYWORK</SPAN> <SPAN class=caps>UNTIL</SPAN> I’M <SPAN class=caps>DONE</SPAN> <SPAN class=caps>WITH</SPAN> <SPAN class=caps>YOU</SPAN>!</P> <P>Be honest, did you immediately think of a sketch or mockup you have tucked away? Or some clever little piece of code you want to fiddle with? Now ask yourself, why would you start designing the container if you haven’t worked out what you need to put inside?</P> <P>Anyway, forget the content strategy lecture; I haven’t given you your gifts yet.<BR>I present <STRONG>The Twelve Days of Contentmas!</STRONG></P> <P>This is a simple little plan to make sure that your personal site, blog or portfolio is not just looking good at the end of these twelve days, but is also a really useful repository of really useful content.</P> <P><STRONG><SPAN class=caps>WARNING</SPAN> <SPAN class=caps>KLAXON</SPAN></STRONG>: There are twelve parts, one for each day of Christmas, so this is a lengthy article. I’m not expecting anyone to absorb this in one go. Add to Instapaper. There is no TL;DR for this because it’s a multipart process, m’kay? Even so, this plan of mine cuts corners on a proper applied strategy for content. You might find some aspects take longer than the arbitrary day I’ve assigned. And if you apply this to your company-wide intranet, I won’t be held responsible for the mess.</P> <P>That said, I encourage you to play along and sample some of the practical aspects of organising existing content and planning new content because it is, honestly, an inspiring and liberating process. For one thing, you get to review all the stuff you have put out for the world to look at and see what you could do next. This always leaves me full of ideas on how to plug the gaps I’ve found, so I hope you are similarly motivated come day twelve.</P> <P>Let’s get to it then, shall we?</P> <H3>On the first day of Contentmas, Relly gave to me:</H3> <H4>1. A (partial) content inventory</H4> <P>I’m afraid being a site owner isn’t without its chores. With great power comes great responsibility and all that. There are the domain renewing, hosting helpline calls and, of course, keeping on top of all the content that you have published.</P> <P>If you just frowned a little and thought, “Well, there’s articles and images and… stuff”, then I’d like to introduce you to the idea of a content inventory. </P> <P>A content inventory is a list of all your content, in a simple spreadsheet, that allows you to see at a glance what is currently on your site: articles; about me page; contact form, and so on.</P> <P>You add the full <SPAN class=caps>URL</SPAN> so that you can click directly to any page listed. You add a brief description of what it is and what tags it has. In fact, I’ll show you. I’ve made a Google Docs template for you. Sorry, it isn’t wrapped.</P> <P>Does it seem like a mammoth task? Don’t feel you have to do this all in one day. But do do it. For one thing, looking back at all the stuff you’ve pushed out into the world gives you a warm fuzzy feeling which keeps the heating bill down.</P> <P>Grab a glass of mulled cider and try going month-by-month through your blog archives, or project-by-project through your portfolio. Do a little bit each day for the next twelve days and you’ll have done something awesome. The best bit is that this exploration of your current content helps you with the next day’s task.</P> <P>Bonus gift: for more on content auditing and inventory, check out Jeff Veen’s article on just this topic, which is also suitable for bigger business sites too.</P> <H3>On the second day of Contentmas, Relly gave to me:</H3> <H4>2. Website loves</H4> <P>Remember when you were a kid, you’d write to Santa with a wish list that would make your parents squirm, because your biggest hope for your stocking would be either impossible or impossibly expensive. Do you ever get the same thing now as a grown-up where you think, “Wouldn’t it be great if I could make a video blog every week”, or “I could podcast once a month about this”, and then you push it to the back of your mind, assuming that you won’t have time or you wouldn’t know what to talk about anyway?</P> <P>True fact: content doesn’t just have to be produced when we are so incensed that we absolutely must blog about a topic. Neither does it have to be a drain to a demanding schedule. You can plan for it. In fact, you’re about to.</P> <P>So, today, get a pen and a notebook. Move away from your computer. My gift to you is to grab a quiet ten minutes between turkey sandwiches and relatives visiting and give your site some of the attention it deserves for 2011.</P> <P>What would you do with your site if you could? I don’t mean what would you do purely visually – although by all means note those things down too – but to your site as a whole. Here are some jumping off points:</P> <UL> <LI>Would you like to individually illustrate and design some of your articles?</LI> <LI>What about a monthly exploration of your favourite topic through video or audio?</LI> <LI>Who would you like to collaborate with?</LI> <LI>What do you want your site to be like for a user?</LI> <LI>What tone of voice would you like to use?</LI> <LI>How could you use imagery and typography to support your content?</LI> <LI>What would you like to create content about in the new year?</LI></UL> <P>It’s okay if you can’t do these things yet. It’s okay to scrub out anything where you think, “Nah, never gonna happen.” But do give some thought to what you might want to do next. The best inspiration for this comes from what you’ve already done, so keep on with that inventory.</P> <P>Bonus gift: a Think Vitamin article on podcasting using Skype, so you can rope in a few friends to join in, too.</P> <H3>On the third day of Contentmas, Relly gave to me:</H3> <H4>3. Red pens</H4> <P>Shock news, just in: the web is not print!</P> <P>One of the hardest things as a writer is to reach the point where you say, “Yeah, okay, that’s it. I’m done” and send off your beloved manuscript or article to print. I’m convinced that if deadlines didn’t exist, nothing would get finished. Why? Well, at the point you hand it over to the publishing presses, you can make no more changes. At best, you can print an erratum or produce an updated second edition at a later date. And writers love to – no, they live to – tweak their creations, so handing them over is quite a struggle. Just one more comma and…</P> <P>Online, we have no such constraints. We can edit, correct, test, tweak, twiddle until we’re blooming sick of it. Our red pens never run out of ink. It is time for you to run a more critical eye over your content, especially the stuff already published. Relish in the opportunity to change stuff on the fly. I am not so concerned by blog articles and such (although feel free to apply this concept to those, too), but mainly by your more concrete content: about pages; contact pages; home page navigation; portfolio pages; 404 pages.</P> <P>Now, don’t go running amok with the cut function yet. First, put all these evergreen pages into your inventory. In the notes section, write a quick analysis of how useful this copy is. Example questions:</P> <UL> <LI>Is your contact page up-to-date?</LI> <LI>Does your about page link to the right places?</LI> <LI>Is your portfolio current?</LI> <LI>Does your 404 page give people a way to find what they were looking for?</LI></UL> <P>We’ll come back to this in a few days once we have a clearer idea of how to improve our content.</P> <P>Bonus gift: the audio and slides of a talk I gave on microcopy and 404 pages at @media WebDirections last year.</P> <H3>On the fourth day of Contentmas, Relly gave to me:</H3> <H4>4. Stalling nerds</H4> <P>Actually, I guess more accurately this is something I get given a lot. Designers and developers particularly can find a million ways to extract themselves from the content of a site but, as the site owner, and this being your personal playground and all, you mustn’t. You actually can’t, sorry. </P> <P>But I do understand that at this point, ‘sorting out your site’ suddenly seems a lot less exciting, especially if you are a visually-minded person and words and lists aren’t really your thing. So far, there has been a lot of not-very-exciting exercises in planning, and there’s probably a nice pile of <SPAN class=caps>DVD</SPAN>s and video games that you got from Santa worth investigating. </P> <P>Stay strong my friend. By now, you have probably hit upon an idea of some sort you are itching to start on, so for every half-hour you spend doing inventory, gift yourself another thirty minutes to play with that idea.</P> <P>Bonus gift: the Pomodoro Technique. Take one kitchen timer and a to-do list and see how far you can go.</P> <H3>On the fifth day of Contentmas, Relly gave to me:</H3> <H4>5. Golden rules</H4> <P>Here are some guidelines for writing online:</P> <UL> <LI>Make headlines for tutorials and similar content useful and descriptive; use a subheading for any terrible pun you want to work in.</LI></UL> <UL> <LI>Create a broad opening paragraph that addresses what your article is about. Part of the creative skill in writing is to do this in a way that both informs the reader and captures their attention. If you struggle with this, consider a boxout giving a summary of the article.</LI></UL> <UL> <LI>Use headings to break up chunks of text and allow people to scan. Most people will have a scoot about an article before starting at the beginning to give it a proper read. These headings should be equal parts informative and enticing. Try them out as questions that might be posed by the reader too.</LI></UL> <UL> <LI>Finish articles by asking your reader to take an affirmative action: subscribe to your <SPAN class=caps>RSS</SPAN> feed; leave a comment (if comments are your thing – more on that later); follow you on Twitter; link you to somewhere they have used your tutorial or code. The web is about getting excited, making things and sharing with others, so give your readers the chance to do that.</LI></UL> <UL> <LI>For portfolio sites, this call to action is extra important as you want to pick up new business. Encourage people to e-mail you or call you – don’t just rely on a number in the footer or an e-mail link at the top. Think up some consistent calls-to-action you can use and test them out.</LI></UL> <P>So, my gift to you today is a simplified page table for planning out your content to make it as useful as possible.</P> <P>Feel free to write a new article or tutorial, or work on that great idea from yesterday and try out these guidelines for yourself. </P> <P>It’s a simple framework – good headline; broad opening; headings to break up volume; strong call to action – but it will help you recognise if what you’ve written is in good shape to face the world. It doesn’t tell you anything about how to create it – that’s your endeavour – but it does give you a start. No more staring at a blank page.</P> <P>Bonus gift: okay, you have to buy yourself this one, but it is the gift that keeps on giving: Ginny Reddish’s <CITE>Letting Go of the Words</CITE> – the hands down best guide to web writing there is, with a ton of illustrative examples.</P> <H3>On the sixth day of Contentmas, Relly gave to me:</H3> <H4>6. Foundation-a-laying</H4> <P>Yesterday, we played with a page table for articles. Today, we are going to set the foundations for your new, spangly, spruced up, relaunched site (for when you’re ready, of course). We’ve checked out what we’ve got, we’ve thought about what we’d like, we have a wish list for the future. Now is the time for a small reality check. </P> <P>Be realistic with yourself. Can you really give your site some attention every day? Record a short snippet of audio once a week? A photo diary post once a month? Look back at the wish list you made.</P> <UL> <LI>What can you do?</LI> <LI>What can you aim for?</LI> <LI>What just isn’t possible right now?</LI></UL> <P>As much as we’d all love to be producing a slick video podcast and screencast three times a week, it’s better to set realistic expectations and work your way up.</P> <P>Where does your site sit in your online world?</P> <UL> <LI>Do you want it to be the hub of all your social interactions, a lifestream, a considered place of publication or a free for all?</LI> <LI>Do you want to have comments (do you have the personal resource to monitor comments?) or would you prefer conversation to happen via Twitter, Facebook or not at all?</LI> <LI>Does this apply to all pages, posts and content types or just some?</LI> <LI>Get these things straight in your head and it’s easier to know what sort of environment you want to create and what content you’ll need to sustain it.</LI></UL> <P>Get your notebook again and think about specific topics you’d like to cover, or aspects of a project you want to go into more, and how you can go ahead and do just that. A good motivator is to think what you’ll get out of doing it, even if that is “And I’ll finally show the poxy $whatever_community that my $chosen_format is better than their $other_format.”</P> <P>What topics have you really wanted to get off your chest? Look through your inventory again. What gaps are there in your content just begging to be filled?</P> <P>Today, you’re going to give everyone the gift of your opinion. Find one of those things where someone on the internet is wrong and create a short but snappy piece to set them straight. Doesn’t that feel good? Soon you’ll be able to do this in a timely manner every time someone is wrong on the internet!</P> <P>Bonus gift: we’re halfway through, so I think something fun is in order. How about a man sledding naked down a hill in Brighton on a tea tray? Sometimes, even with a whole ton of content planning, it’s the spontaneous stuff that is still the most fun to share.</P> <H3>On the seventh day of Contentmas, Relly gave to me:</H3> <H4>7. Styles-a-guiding</H4> <P>Not colour style guides or brand style guides or code style guides. Content style guides. You could go completely to town and write yourself a full document defining every aspect of your site’s voice and personality, plus declaring your view on contracted phrases and the Oxford comma, but this does seem a tad excessive. Unless you’re writing an entire site as a fictional character, you probably know your own voice and vocabulary better than anyone. It’s in your head, after all.</P> <P>Instead, equip yourself with a good global style guide (I like the <CITE>Chicago Manual of Style</CITE> because I can access it fully online, but the <CITE>Associated Press (AP) Stylebook</CITE> has a nifty iPhone app and, if I’m entirely honest, I’ve found a copy of <CITE>Eats, Shoots and Leaves</CITE> has set me right on all but the most technical aspects of punctuation). Next, pick a good dictionary and bookmark thesaurus.com. Then have a go at Kristina Halvorson’s ‘Voice and Tone’ exercise from her book <CITE>Content Strategy for the Web</CITE>, to nail down what you’d like your future content to be like:</P> <P> <BLOCKQUOTE> <P>To introduce the voice and tone qualities you’re [looking to create], a good approach is to offer contrasting values. For example:</P> <P></P> <UL> <LI>Professional, not academic.</LI> <LI>Confident, not arrogant.</LI> <LI>Clever, not cutesy.</LI> <LI>Savvy, not hipster.</LI> <LI>Expert, not preachy.<BR></LI></UL></BLOCKQUOTE></LI> <UL></UL> <P>Take a look around some of your favourite sites and examine the writing and stylistic handling of content. What do you like? What do you want to emulate? What matches your values list?</P> <P>Today’s gift to you is an idea. Create a ‘swipe file’ through Evernote or Delicious and save all the stuff you come across that, regardless of topic, makes you think, “That’s really cool.” This isn’t the same as an Instapaper list you’d like to read. This is stuff you have read or have seen that is worth looking at in closer detail.</P> <UL> <LI>Why is it so good?</LI> <LI>What is the language and style like?</LI> <LI>What impact does the typography have?</LI> <LI>How does the imagery work to enhance the message?</LI></UL> <P>This isn’t about creating a personal brand or any such piffle. It’s about learning to recognise how good content works and how to create something awesome yourself. Obviously, your ideas are brilliant, so take the time to understand how best to spring them on the unsuspecting public for easier world domination.</P> <P>Bonus gift: a nifty style guide is a must when you do have to share content creation duties with others. Here is Leeds University’s publicly available <SPAN class=caps>PDF</SPAN> version for you to take a gander at. I especially like the Rationale sections for chopping off dissenters at the knees. </P> <H3>On the eighth day of Contentmas, Relly gave to me:</H3> <H4>8. Times-a-making</H4> <P>You have an actual, real plan for what you’d like to do with your site and how it is going to sound (and probably some ideas on how it’s going to look, too). I hope you are full of enthusiasm and Getting Excited To Make Things. Just before we get going and do exactly that, we are going to make sure we have made time for this creative outpouring.</P> <P>Have you tried to blog once a week before and found yourself losing traction after a month or two? Are there a couple of podcasts lurking neglected in your archives? Whereas half of the act of running is showing up for training, half of creating is making time rather than waiting for it to become urgent. It’s okay to write something and set a date to come back to it (which isn’t the same as leaving it to decompose in your drafts folder).</P> <P>Putting a date in your calendar to do something for your site means that you have a forewarning to think of a topic to write about, and space in your schedule to actually do it. Crucially, you’ve actually made some time for this content lark.</P> <P>To do this, you need to think about how long it takes to get something out of the door/shipped/published/whatever you want to call it. It might take you just thirty minutes to record a podcast, but also a further hour to research the topic beforehand and another hour to edit and upload the clips. Suddenly, doing a thirty minute podcast every day seems a bit unlikely. But, on the flipside, it is easy to see how you could schedule that in three chunks weekly. </P> <P>Put it in your calendar. Do it, publish it, book yourself in for the next week. Keep turning up.</P> <P>Today my gift to you is the gift of time. Set up your own small content calendar, using your favourite calendar system, and schedule time to play with new ways of creating content, time to get it finished and time to get it on your site. <EM>Don’t let good stuff go to your drafts folder to die of neglect.</EM></P> <P>Bonus gift: lots of writers swear by the concept of ‘daily pages’. That is, churning out whatever is in your head to see if there is anything worth building upon, or just to lose the grocery list getting in the way. 750words.com is a site built around this concept. Go have a play.</P> <H3>On the ninth day of Contentmas, Relly gave to me:</H3> <H4>9. Copy enhancing</H4> <P>An incredibly radical idea for day number nine. We are going to look at that list of permanent pages you made back on day three and rewrite the words first, before even looking at a colour palette or picking a font! Crazy as it sounds, doing it this way round could influence your design. It could shape the imagery you use. It could affect your choice of typography. <SPAN class=caps>IMAGINE</SPAN> <SPAN class=caps>THE</SPAN> <SPAN class=caps>POSSIBILITIES</SPAN>!</P> <P>Look at the page table from day five. Print out one for each of your homepage, about page, contact page, portfolio, archive, 404 page or whatever else you have. Use these as a place to brainstorm your ideas and what you’d like each page to do for your site. Doodle in the margin, choose words you think sound fun to say, daydream about pictures you’d like to use and colours you think would work, but absolutely, completely and utterly fill in those page tables to understand how much (or how little) content you’re playing with and what you need to do to get to ‘launch’.</P> <P>Then, use them for guidance as you start to write. Don’t skimp. Don’t think that a fancy icon of an envelope encourages people to e-mail you. Use your words.</P> <P>People get antsy at this bit. Writing can be hard work and it’s easy for me to say, “Go on and write it then!” I know this. I mean, you should see the faces I pull when I have to do anything related to coding. The closest equivalent would be when scientists have to stick their hands in big gloves attached to a glass box to do dangerous experiments.</P> <P>Here’s today’s gift, a little something about writing that I hope brings you comfort: </P> <BLOCKQUOTE> <P>To write something fantastic you almost always have to write a rubbish draft first.</P></BLOCKQUOTE> <P>Now, you might get lucky and write a ‘good enough’ draft first time and that’s fab – you’ve cut some time getting to ‘fantastic’. If, however, you’ve always looked at your first attempt to write more than the bare minimum and sighed in despair, and resigned yourself to adding just a title, date and a screenshot, be cheered because you have taken the first step to being able to communicate with clarity, wit and panache.</P> <P>Keep going. Look at writing you admire and emulate it. Think about how you will lovingly design those words when they are done. Know that you can go back and change them. Check back with your page table to keep you on track. Do that first draft.</P> <P>Bonus gift: becoming a better writer helps you to explain design concepts to clients.</P> <H3>On the tenth day of Contentmas, Relly gave to me:</H3> <H4>10. Ideas for keeping</H4> <P>Hurrah! You have something down on paper, ready to start evolving your site around it. Here’s where the words and visuals and interaction start to come together. Because you have a plan, you can think ahead and do things you wouldn’t be able to pull together otherwise.</P> <UL> <LI>How about finding a fresh-faced stellar illustrator on Dribbble to create you something perfect to pep up your contact page or visualize your witty statement on statements of work. A List Apart has been doing it for years and it hasn’t worked out too badly for them, has it?</LI></UL> <UL> <LI>What about spending this month creating a series of introductory tutorials on a topic, complete with screencasts and audio and give them a special home on your site?</LI></UL> <UL> <LI>How about putting in some hours creating a glorious about me page, with a biography, nice picture, and where you spend your time online?</LI></UL> <UL> <LI>You could even do the web equivalent of getting up in the attic and sorting out your site’s search to make it easier to find things in your archives. Maybe even do some manual recommendations for relevant content and add them as calls to action.</LI></UL> <UL> <LI>How about writing a few awesome case studies with individual screenshots of your favourite work, and creating a portfolio that plays to your strengths? Don’t just rely on the pretty pictures; use your words. Otherwise no-one understands why things are the way they are on that screenshot and <SPAN class=caps>BAM</SPAN>! you’ll be judged on someone else’s tastes. (Elliot has a head start on you for this, so get to it!)</LI></UL> <UL> <LI>Do you have a serious archive of content? What’s it like being a first-time visitor to your site? Could you write them a guide to introduce yourself and some of the most popular stuff on your site? Ali Edwards is a massively popular crafter and every day she gets new visitors who have found her multiple papercraft projects on Flickr, Vimeo and elsewhere, so she created a welcome guide just for them.</LI></UL> <UL> <LI>What about your microcopy? Can you improve on your blogging platform’s defaults for search, comment submission and labels? I’ll bet you can.</LI></UL> <UL> <LI>Maybe you could plan a collaboration with other like-minded souls. A week of posts about the more advanced wonders of HTML5 video. A month-long baton-passing exercise in extolling the virtues of IE (shut up, it could happen!). Just spare me any more online advent calendars.</LI></UL> <UL> <LI>Watch David McCandless’s <SPAN class=caps>TED</SPAN> talk on his jawdropping infographic work and make something as awesome as the Billion Dollar O Gram. I dare you.</LI></UL> <P>Bonus gift: Grab a copy of Brian Suda’s <CITE>Designing with Data</CITE>, in print or <SPAN class=caps>PDF</SPAN> if Santa didn’t put one in your stocking, and make that awesome something with some expert guidance.</P> <H3>On the eleventh day of Contentmas, Relly gave to me:</H3> <H4>11. Pixels pushing</H4> <P>Oh, go on then. Make a gorgeous bespoke velvet-lined container for all that lovely content. It’s proper informed design now, not just decoration. Mr. Zeldman says so.</P> <P>Bonus gift: I made you a movie! If books were designed like websites.</P> <H3>On the twelfth day of Contentmas, Relly gave to me:</H3> <H4>12. Delighters delighting</H4> <P>The Epiphany is upon us; your site is now well on its way to being a beautiful, sustainable hub of content and you have a date in your calendar to help you keep that resolution of blogging more. What now?</P> <UL> <LI>Keep on top of your inventory. One day it will save your butt, I promise.</LI> <LI>Keep making a little bit of time regularly to create something new: an article; an opinion piece; a small curation of related links; a photo diary; a new case study. That’s easier than an annual content bootcamp for sure.</LI> <LI>And today’s gift: look for ways to play with that content and make something a bit special. Stretch yourself a little. It’ll be worth it.</LI></UL> <P>Bonus gift: Paul Annett’s presentation on Ooh, that’s clever: Delighters in design from SxSW 09.</P> <P>All my favourite designers and developers have their own unique styles and touches. It’s what sets them apart. My very, very favourites have an eloquence and expression that they bring to their sites and to their projects. I absolutely love to explore a well-crafted, well-written site – don’t we all? I know the time it takes. I appreciate the time it takes. But the end results are delicious. Do please share your spangly, refreshed sites with me in the comments.</P> <P>Catch me on Twitter, I’m @RellyAB, and I’ve been your host for these Twelve Days of Contentmas.</P></DIV> text/html 2011-08-25T13:35:54+01:00 website-design.mihanblog.com ramin h Everything You Wanted To Know About Gradients (And a Few Things You Didn’t) http://website-design.mihanblog.com/post/116 Everything You Wanted To Know About Gradients (And a Few Things You Didn’t) <P>by Ethan Marcotte</P><!-- meta --> <DIV id=article> <P>Hello. I am here to discuss CSS3 gradients. Because, let’s face it, what the web really needed was more gradients.</P> <P>Still, despite their widespread use (or is it overuse?), the smartly applied gradient can be a valuable contributor to a designer’s vocabulary. There’s always been a tension between the inherently two-dimensional nature of our medium, and our desire for more intensity, more <EM>depth</EM> in our designs. And a gradient can evoke so much: the splay of light across your desk, the slow decrease in volume toward the end of your favorite song, the sunset after a long day. When properly applied, graded colors bring a much needed softness to our work.</P> <P>Of course, that whole ‘proper application’ thing is the tricky bit.</P> <P>But given their place in our toolkit <EM>and</EM> their prominence online, it really is heartening to see we can create gradients directly with <SPAN class=caps>CSS</SPAN>. They’re part of the draft images module, and implemented in two of the major rendering engines.</P> <P>Still, I’ve always found <SPAN class=caps>CSS</SPAN> gradients to be one of the more confusing aspects of CSS3. So if you’ll indulge me, let’s take a quick look at <EM>how</EM> to create <SPAN class=caps>CSS</SPAN> gradients—hopefully we can make them seem a bit more accessible, and bring a bit more art into the browser.</P> <H3>Gradient theory 101 (I hope that’s not really a thing)</H3> <P>Right. So before we dive into the code, let’s cover a few basics. Every gradient, no matter how complex, shares a few common characteristics. Here’s a straightforward one:</P> <P class=image><IMG alt="A basic gradient" src="http://media.24ways.org/2010/marcotte/grad-basic.png"> <SPAN class=caption>I spent <DEL>seconds</DEL> hours designing this gradient. I hope you like it.</SPAN></P> <P>At either end of our image, we have a final color value, or <DFN>color stop</DFN>: on the left, our stop is white; on the right, black. And more color-rich gradients are no different:</P> <P class=image><IMG alt="A rainbow gradient" src="http://media.24ways.org/2010/marcotte/grad-rainbow.png"> <SPAN class=caption>(Don’t ever really do this. Please. I beg you.)</SPAN></P> <P>It’s visually more intricate, sure. But at the heart of it, we have just seven color stops (red, orange, yellow, and so on), making for a fantastic gradient <EM>all the way</EM>.</P> <P>Now, color stops alone do not a gradient make. Between each is a <DFN>transition point</DFN>, the fail-over point between the two stops. Now, the transition point doesn’t need to fall exactly between stops: it can be brought closer to one stop or the other, influencing the overall shape of the gradient.</P> <H3>A tale of two syntaxes</H3> <P>Armed with our new vocabulary, let’s look at a <SPAN class=caps>CSS</SPAN> gradient in the wild. Behold, the simple input button:</P> <P class=image><IMG alt="A button gradient" src="http://media.24ways.org/2010/marcotte/btn-gradient-zoom.png"></P> <P>There’s a simple linear gradient applied vertically across the button, moving from a bright sunflowerish hue (<CODE>#FAA51A</CODE>, for you hex nuts in the audience) to a much richer orange (<CODE>#F47A20</CODE>). And here’s the <SPAN class=caps>CSS</SPAN> that makes it happen:</P> <OL class=code> <LI><CODE>input[type=submit] {</CODE></LI> <LI class=tab1><CODE>background-color: #F47A20;</CODE></LI> <LI class=tab1><CODE>background-image: -moz-linear-gradient(</CODE></LI> <LI class=tab2><CODE>#FAA51A,</CODE></LI> <LI class=tab2><CODE>#F47A20</CODE></LI> <LI class=tab2><CODE>);</CODE></LI> <LI class=tab1><CODE>background-image: -webkit-gradient(linear, 0 0, 0 100%,</CODE></LI> <LI class=tab2><CODE>color-stop(0, #FAA51A),</CODE></LI> <LI class=tab2><CODE>color-stop(1, #F47A20)</CODE></LI> <LI class=tab2><CODE>);</CODE></LI> <LI><CODE>}</CODE></LI></OL> <P>I’ve borrowed David DeSandro’s most excellent formatting suggestions for gradients to make this snippet a bit more legible but, still, the code above might have turned your stomach a bit. And that’s perfectly understandable—heck, it sort of turned mine. But let’s step through the <SPAN class=caps>CSS</SPAN> slowly, and see if we can’t make it a little less terrifying.</P> <H4>Verbose WebKit is verbose</H4> <P>Here’s the syntax for our little gradient on WebKit:</P> <OL class=code> <LI><CODE>background-image: -webkit-gradient(linear, 0 0, 0 100%,</CODE></LI> <LI class=tab1><CODE>color-stop(0, #FAA51A),</CODE></LI> <LI class=tab1><CODE>color-stop(1, #F47A20)</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>Woof. Quite a mouthful, no? Well, here’s what we’re looking at:</P> <OL> <LI>WebKit has a single <CODE>-webkit-gradient</CODE> property, which can be used to create either <CODE>linear</CODE> or <CODE>radial</CODE> gradients.</LI> <LI>The next two values are the starting and ending positions for our gradient (<CODE>0 0</CODE> and <CODE>0 100%</CODE>, respectively). Linear gradients are simply drawn along the path between those two points, which allows us to change the direction of our gradient simply by altering its start and end points.</LI> <LI>Afterward, we specify our color stops with the oh-so-aptly named <CODE>color-stop</CODE> parameter, which takes the stop’s position on the gradient (0 being the beginning, and <CODE>100%</CODE> or <CODE>1</CODE> being the end) and the color itself.</LI></OL> <P>For a simple two-color gradient like this, <CODE>-webkit-gradient</CODE> has a bit of shorthand notation to offer us:</P> <OL class=code> <LI><CODE>background-image: -webkit-gradient(linear, 0 0, 0 100%,</CODE></LI> <LI class=tab1><CODE>from(#FAA51A),</CODE></LI> <LI class=tab1><CODE>to(#FAA51A)</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P><CODE>from(#FAA51A)</CODE> is equivalent to writing <CODE>color-stop(0, #FAA51A)</CODE>, and <CODE>to(#FAA51A)</CODE> is the same as <CODE>color-stop(1, #FAA51A)</CODE> or <CODE>color-stop(100%, #FAA51A)</CODE>—in both cases, we’re simply declaring the first and last color stops in our gradient.</P> <H4>Terse Gecko is terse</H4> <P>WebKit proposed its syntax back in 2008, heavily inspired by the way gradients are drawn in the <CODE>canvas</CODE> specification. However, a different, leaner syntax came to the fore, eventually appearing in a draft module specification in CSS3.</P> <P>Naturally, because nothing on the web was meant to be easy, this is the one that Mozilla has implemented.</P> <P>Here’s how we get gradient-y in Gecko:</P> <OL class=code> <LI><CODE>background-image: -moz-linear-gradient(</CODE></LI> <LI class=tab1><CODE>#FAA51A,</CODE></LI> <LI class=tab1><CODE>#F47A20</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>Wait, what? Done already? That’s right. By default, <CODE>-moz-linear-gradient</CODE> assumes you’re trying to create a vertical gradient, starting from the top of your element and moving to the bottom. And, if that’s the case, then you simply need to specify your color stops, delimited with a few commas.</P> <P>I know: that was almost… painless. But the W3C/Mozilla syntax also affords us a fair amount of flexibility and control, by introducing features <EM>as we need them</EM>.</P> <P>We can specify an origin point for our gradient:</P> <OL class=code> <LI><CODE>background-image: -moz-linear-gradient(50% 100%,</CODE></LI> <LI class=tab1><CODE>#FAA51A,</CODE></LI> <LI class=tab1><CODE>#F47A20</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>As well as an angle, to give it a direction:</P> <OL class=code> <LI><CODE>background-image: -moz-linear-gradient(50% 100%, 45deg,</CODE></LI> <LI class=tab1><CODE>#FAA51A,</CODE></LI> <LI class=tab1><CODE>#F47A20</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>And we can specify multiple stops, simply by adding to our comma-delimited list:</P> <OL class=code> <LI><CODE>background-image: -moz-linear-gradient(50% 100%, 45deg,</CODE></LI> <LI class=tab1><CODE>#FAA51A,</CODE></LI> <LI class=tab1><CODE>#FCC,</CODE></LI> <LI class=tab1><CODE>#F47A20</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>By adding a percentage after a given color value, we can determine its position along the gradient path:</P> <OL class=code> <LI><CODE>background-image: -moz-linear-gradient(50% 100%, 45deg,</CODE></LI> <LI class=tab1><CODE>#FAA51A,</CODE></LI> <LI class=tab1><CODE>#FCC 20%,</CODE></LI> <LI class=tab1><CODE>#F47A20</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>So that’s some of the flexibility implicit in the W3C/Mozilla-style syntax.</P> <P>Now, I should note that both syntaxes have their respective fans. I will say that the W3C/Mozilla-style syntax makes much more sense to me, and lines up with how I think about creating gradients. But I can totally understand why some might prefer WebKit’s more verbose approach to the, well, <EM>looseness</EM> behind the <CODE>-moz</CODE> syntax. <I lang=fr>À chacun son gradient syntax</I>.</P> <P>Still, as the language gets refined by the W3C, I really hope some consensus is reached by the browser vendors. And with Opera signaling that it will support the W3C syntax, I suppose it falls on WebKit to do the same.</P> <H3>Reusing color stops for fun and profit</H3> <P>But <SPAN class=caps>CSS</SPAN> gradients aren’t all simple colors and shapes and whatnot: by getting inventive with individual color stops, you can create some really complex, compelling effects.</P> <P>Tim Van Damme, whose brain, I believe, should be posthumously donated to science, has a particularly clever application of gradients on The Box, a site dedicated to his occasional podcast series. Now, there are a fair number of gradients applied throughout the UI, but it’s the feature image that really catches the eye.</P> <P>You see, there’s nothing that says you can’t reuse color stops. And Tim’s exploited that perfectly.</P> <P>He’s created a linear gradient, angled at forty-five degrees from the top left corner of the photo, starting with a fully transparent white (<CODE>rgba(255, 255, 255, 0)</CODE>). At the halfway mark, he’s established another color stop at an only slightly more opaque white (<CODE>rgba(255, 255, 255, 0.1)</CODE>), making for that incredibly gradual brightening toward the middle of the photo.</P> <P class=image><IMG alt="A linear gradient giving a subtle gloss over an image" src="http://media.24ways.org/2010/marcotte/stop-reuse-1.jpg"></P> <P>But then he has set another color stop immediately on top of it, bringing it back down to <CODE>rgba(255, 255, 255, 0)</CODE> again. This creates that fantastically hard edge that diagonally bisects the photo, giving the image that subtle gloss.</P> <P class=image><IMG alt="A linear gradient giving a subtle gloss over an image" src="http://media.24ways.org/2010/marcotte/stop-reuse-2.jpg"></P> <P>And his final color stop ends at the same fully transparent white, completing the effect. Hot? I do believe so.</P> <H3>Rocking the radials</H3> <P>We’ve been looking at linear gradients pretty exclusively. But I’d be remiss if I didn’t at least mention radial gradients as a viable option, including a modest one as a link accent on a navigation bar:</P> <P class=image><IMG alt="A radial gradient example on a navigation item" src="http://media.24ways.org/2010/marcotte/nav-detail.jpg"></P> <P>And here’s the relevant <SPAN class=caps>CSS</SPAN>:</P> <OL class=code> <LI><CODE>background: -moz-radial-gradient(50% 100%, farthest-side,</CODE></LI> <LI class=tab1><CODE>rgb(204, 255, 255) 1%,</CODE></LI> <LI class=tab1><CODE>rgb(85, 85, 85) 15%,</CODE></LI> <LI class=tab1><CODE>rgba(85, 85, 85, 0)</CODE></LI> <LI class=tab1><CODE>);</CODE></LI> <LI><CODE>background: -webkit-gradient(radial, 50% 100%, 0, 50% 100%, 15,</CODE></LI> <LI class=tab1><CODE>from(rgb(204, 255, 255)),</CODE></LI> <LI class=tab1><CODE>to(rgba(85, 85, 85, 0))</CODE></LI> <LI class=tab1><CODE>);</CODE></LI></OL> <P>Now, the syntax builds on what we’ve already learned about linear gradients, so much of it might be familiar to you, picking out color stops and transition points, as well as the two syntaxes’ reliance on either a separate property (<CODE>-moz-radial-gradient</CODE>) or parameter (<CODE>-webkit-gradient(radial, …)</CODE>) to shift into circular mode.</P> <P>Mozilla introduces another stand-alone property (<CODE>-moz-radial-gradient</CODE>), and accepts a starting point (<CODE>50% 100%</CODE>) from which the circle radiates. There’s also a size constant defined (<CODE>farthest-side</CODE>), which determines the reach and shape of our gradient.</P> <P>WebKit is again the more verbose of the two syntaxes, requiring both starting and ending points (<CODE>50% 100%</CODE> in both cases). Each also accepts a radius in pixels, allowing you to control the skew and breadth of the circle.</P> <P>Again, this is a fairly modest little radial gradient. Time and article length (and, let’s be honest, your author’s completely inadequate grasp of geometry) prevent me from covering radial gradients in much more detail, because they are incredibly powerful. For those interested in learning more, I can’t recommend the references at Mozilla and Apple strongly enough.</P> <H3>Leave no browser behind</H3> <P>But no matter the <EM>kind</EM> of gradients you’re working with, there is a large swathe of browsers that simply don’t support gradients. Thankfully, it’s fairly easy to declare a sensible fallback—it just depends on the <EM>kind</EM> of fallback you’d like. Essentially, gradient-blind browsers will disregard any properties containing references to either <CODE>-moz-linear-gradient</CODE>, <CODE>-moz-radial-gradient</CODE>, or <CODE>-webkit-gradient</CODE>, so you simply need to keep your fallback isolated from those properties.</P> <P>For example: if you’d like to fall back to a flat color, simply declare a separate <CODE>background-color</CODE>:</P> <OL class=code> <LI><CODE>.nav {</CODE></LI> <LI class=tab1><CODE>background-color: #000;</CODE></LI> <LI class=tab1><CODE>background-image: -moz-linear-gradient(rgba(0, 0, 0, 0), rgba(255, 255, 255, 0.45));</CODE></LI> <LI class=tab1><CODE>background-image: -webkit-gradient(linear, 0 0, 0 100%, from(rgba(0, 0, 0, 0)), to(rgba(255, 255, 255, 0.45)));</CODE></LI> <LI><CODE>}</CODE></LI></OL> <P>Or perhaps just create three separate <CODE>background</CODE> properties.</P> <OL class=code> <LI><CODE>.nav {</CODE></LI> <LI class=tab1><CODE>background: #000;</CODE></LI> <LI class=tab1><CODE>background: #000 -moz-linear-gradient(rgba(0, 0, 0, 0), rgba(255, 255, 255, 0.45));</CODE></LI> <LI class=tab1><CODE>background: #000 -webkit-gradient(linear, 0 0, 0 100%, from(rgba(0, 0, 0, 0)), to(rgba(255, 255, 255, 0.45)));</CODE></LI> <LI><CODE>}</CODE></LI></OL> <P>We can even build on this to fall back to a non-gradient image:</P> <OL class=code> <LI><CODE>.nav {</CODE></LI> <LI class=tab1><CODE>background: #000 <STRONG>url("faux-gradient-lol.png") repeat-x</STRONG>;</CODE></LI> <LI class=tab1><CODE>background: #000 -moz-linear-gradient(rgba(0, 0, 0, 0), rgba(255, 255, 255, 0.45));</CODE></LI> <LI class=tab1><CODE>background: #000 -webkit-gradient(linear, 0 0, 0 100%, from(rgba(0, 0, 0, 0)), to(rgba(255, 255, 255, 0.45)));</CODE></LI> <LI><CODE>}</CODE></LI></OL> <P>No matter the approach you feel most appropriate to your design, it’s really just a matter of keeping your fallback design quarantined from its CSS3-ified siblings.</P> <P>(If you’re feeling <EM>especially</EM> masochistic, there’s even a way to get simple linear gradients working in <ABBR title="Internet Explorer">IE</ABBR> via Microsoft’s proprietary filters. Of course, those come with considerable performance penalties that even <EM>Microsoft</EM> is quick to point out, so I’d recommend avoiding those.</P> <P><SMALL><FONT size=2>And don’t tell </FONT><FONT size=2>Andy Clarke</FONT><FONT size=2> I told you, or he’ll probably </FONT><FONT size=2>unload his Derringer</FONT><FONT size=2> at me. Or something.)</FONT></SMALL></P> <H3>Go forth and, um, gradientify!</H3> <P>It’s entirely possible your head’s spinning. Heck, mine is, but that might be the effects of the ’nog. But maybe you’re wondering why you should care about <SPAN class=caps>CSS</SPAN> gradients. After all, images are here right now, and work just fine. </P> <P>Well, there are some quick benefits that spring to mind: fewer <SPAN class=caps>HTTP</SPAN> requests are needed; CSS3 gradients are easily made scalable, making them ideal for variable widths and heights; and finally, they’re easily modifiable by tweaking a few <SPAN class=caps>CSS</SPAN> properties. Because, let’s face it, less time spent yelling at Photoshop is a very, very good thing.</P> <P>Of course, <SPAN class=caps>CSS</SPAN>-generated gradients are not without their drawbacks. The syntax can be confusing, and it’s still under development at the W3C. As we’ve seen, browser support is still very much in flux. And it’s possible that gradients themselves have some real performance drawbacks—so test thoroughly, and gradient carefully.</P> <P>But still, as syntaxes converge, and support improves, I think generated gradients can make a compelling tool in our collective belts. The tasteful design is, of course, entirely up to you.</P> <P>So have fun, and get gradientin’.</P></DIV> text/html 2011-08-25T13:34:51+01:00 website-design.mihanblog.com ramin h Circles of Confusion http://website-design.mihanblog.com/post/115 <!-- navigation --> <DIV id=content class=article> <DIV class=meta> <H2>Circles of Confusion</H2> <P>by Andy Clarke</P></DIV><!-- meta --> <DIV id=article> <P>Long before I worked on the web, I specialised in training photographers how to use large format, 5×4″ and 10×8″ view cameras – film cameras with swing and tilt movements, bellows and upside down, back to front images viewed on dim, ground glass screens. It’s been fifteen years since I clicked a shutter on a view camera, but some things have stayed with me from those years.</P> <P>In photography, even the best lenses don’t focus light onto a point (infinitely small in size) but onto ‘spots’ or circles in the ‘film/image plane’. These circles of light have dimensions, despite being microscopically small. They’re known as ‘circles of confusion’.</P> <P>As circles of light become larger, the more unsharp parts of a photograph appear. On the flip side, when circles are smaller, an image looks sharper and more in focus. This is the basis for photographic depth of field and with that comes the knowledge that no photograph can be perfectly focused, never truly sharp. Instead, photographs can only be ‘acceptably unsharp’. </P> <P>Acceptable unsharpness is now a concept that’s relevant to the work we make for the web, because often – unless we compromise – websites cannot look or be experienced exactly the same across browsers, devices or platforms. Accepting that fact, and learning to look upon these natural differences as creative opportunities instead of imperfections, can be tough. Deciding which aspects of a design must remain consistent and, therefore, possibly require more time, effort or compromises can be tougher. Circles of confusion can help us, our bosses and our customers make better, more informed decisions.</P> <H3>Acceptable unsharpness</H3> <P>Many clients still demand that every aspect of a design should be ‘sharp’ – that every user must see rounded boxes, gradients and shadows – without regard for the implications. I believe that this stems largely from the fact that they have previously been shown designs – and asked for sign-off – using static images.</P> <P>It’s also true that in the past, organisations have invested heavily in style guides which, while maybe still useful in offline media, have a strictness that often fails to allow for the flexibility that we need to create experiences that are appropriate to a user’s browser or device capabilities.</P> <P>We live in an era where web browsers and devices have wide-ranging capabilities, and websites can rarely look or be experienced exactly the same across them. Is a particular typeface vital to a user’s experience of a brand? How important are gradients or shadows? Are rounded corners really that necessary? These decisions determine how ‘sharp’ an element should be across browsers with different capabilities and, therefore, how much time, effort or extra code and images we devote to achieving consistency between them. To help our clients make those decisions, we can use circles of confusion.</P> <H3>Circles of confusion</H3> <P>Using circles of confusion involves plotting aspects of a visual design into a series of concentric circles, starting at the centre with elements that demand the most consistency. Then, work outwards, placing elements in order of their priority so that they become progressively ‘softer’, more defocused as they’re plotted into outer rings.</P> <P>If layout and typography must remain consistent, place them in the centre circle as they’re aspects of a design that must remain ‘sharp’.</P> <P>When gradients are important – but not vital – to a user’s experience of a brand, plot them close to, but not in the centre. This makes everyone aware that to achieve consistency, you’ll need to carve out extra images for browsers that don’t support <SPAN class=caps>CSS</SPAN> gradients.</P> <P>If achieving rounded corners or shadows in all browsers isn’t important, place them into outer circles, allowing you to save time by not creating images or employing JavaScript workarounds.</P> <P>I’ve found plotting aspects of a visual design into circles of confusion is a useful technique when explaining the natural differences between browsers to clients. It sets more realistic expectations and creates an environment for more meaningful discussions about progressive and emerging technologies. Best of all, it enables everyone to make better and more informed decisions about design implementation priorities.</P> <P>Involving clients allows the implications of the decisions they make more transparent. For me, this has sometimes meant shifting deadlines or it has allowed me to more easily justify an increase in fees. Most important of all, circles of confusion have helped the people that I work with move beyond yesterday’s one-size-fits-all thinking about visual design, towards accepting the rich diversity of today’s web.</P></DIV></DIV> text/html 2011-08-25T13:34:18+01:00 website-design.mihanblog.com ramin h Calculating Color Contrast http://website-design.mihanblog.com/post/114 Calculating Color Contrast <P>by Brian Suda</P><!-- meta --> <DIV id=article> <P>Some websites and services allow you to customize your profile by uploading pictures, changing the background color or other aspects of the design. As a customer, this personalization turns a web app into your little nest where you store your data. As a designer, letting your customers have free rein over the layout and design is a scary prospect. So what happens to all the stock text and images that are designed to work on nice white backgrounds? Even the Mac only lets you choose between two colors for the OS, blue or graphite! Opening up the ability to customize your site’s color scheme can be a recipe for disaster unless you are flexible and understand how to find maximum color contrasts.</P> <P>In this article I will walk you through two simple equations to determine if you should be using white or black text depending on the color of the background. The equations are both easy to implement and produce similar results. It isn’t a matter of which is better, but more the fact that you are using one at all! That way, even with the craziest of Geocities color schemes that your customers choose, at least your text will still be readable.</P> <P>Let’s have a look at a range of various possible colors. Maybe these are pre-made color schemes, corporate colors, or plucked from an image.</P> <P class=image><IMG alt="Some blocks of colors with their corresponding hex-codes" src="http://media.24ways.org/2010/suda/chips1.gif"></P> <P>Now that we have these potential background colors and their hex values, we need to find out whether the corresponding text should be in white or black, based on which has a higher contrast, therefore affording the best readability. This can be done at runtime with JavaScript or in the back-end before the <SPAN class=caps>HTML</SPAN> is served up.</P> <P>There are two functions I want to compare. The first, I call ’50%’. It takes the hex value and compares it to the value halfway between pure black and pure white. If the hex value is less than half, meaning it is on the darker side of the spectrum, it returns white as the text color. If the result is greater than half, it’s on the lighter side of the spectrum and returns black as the text value.</P> <P>In <SPAN class=caps>PHP</SPAN>:</P><PRE><CODE>function getContrast50($hexcolor){ return (hexdec($hexcolor) &gt; 0xffffff/2) ? 'black':'white'; } </CODE></PRE> <P>In JavaScript:</P><PRE><CODE>function getContrast50(hexcolor){ return (parseInt(hexcolor, 16) &gt; 0xffffff/2) ? 'black':'white'; } </CODE></PRE> <P>It doesn’t get much simpler than that! The function converts the six-character hex color into an integer and compares that to one half the integer value of pure white. The function is easy to remember, but is naive when it comes to understanding how we perceive parts of the spectrum. Different wavelengths have greater or lesser impact on the contrast.</P> <P>The second equation is called ‘<SPAN class=caps>YIQ</SPAN>’ because it converts the <SPAN class=caps>RGB</SPAN> color space into <SPAN class=caps>YIQ</SPAN>, which takes into account the different impacts of its constituent parts. Again, the equation returns white or black and it’s also very easy to implement.</P> <P>In <SPAN class=caps>PHP</SPAN>:</P><PRE><CODE>function getContrastYIQ($hexcolor){ $r = hexdec(substr($hexcolor,0,2)); $g = hexdec(substr($hexcolor,2,2)); $b = hexdec(substr($hexcolor,4,2)); $yiq = (($r*299)+($g*587)+($b*114))/1000; return ($yiq &gt;= 128) ? 'black' : 'white'; } </CODE></PRE> <P>In JavaScript:</P><PRE><CODE>function getContrastYIQ(hexcolor){ var r = parseInt(hexcolor.substr(0,2),16); var g = parseInt(hexcolor.substr(2,2),16); var b = parseInt(hexcolor.substr(4,2),16); var yiq = ((r*299)+(g*587)+(b*114))/1000; return (yiq &gt;= 128) ? 'black' : 'white'; } </CODE></PRE> <P>You’ll notice first that we have broken down the hex value into separate <SPAN class=caps>RGB</SPAN> values. This is important because each of these channels is scaled in accordance to its visual impact. Once everything is scaled and normalized, it will be in a range between zero and 255. Much like the previous ’50%’ function, we now need to check if the input is above or below halfway. Depending on where that value is, we’ll return the corresponding highest contrasting color.</P> <P>That’s it: two simple contrast equations which work really well to determine the best readability.</P> <P>If you are interested in learning more, the W3C has a few documents about color contrast and how to determine if there is enough contrast between any two colors. This is important for accessibility to make sure there is enough contrast between your text and link colors and the background.</P> <P>There is also a great article by Kevin Hale on Particletree about his experience with choosing light or dark themes. To round it out, Jonathan Snook created a color contrast picker which allows you to play with <SPAN class=caps>RGB</SPAN> sliders to get values for <SPAN class=caps>YIQ</SPAN>, contrast and others. That way you can quickly fiddle with the knobs to find the right balance.</P> <H3>Comparing results</H3> <P>Let’s revisit our color schemes and see which text color is recommended for maximum contrast based on these two equations.</P> <P class=image><IMG alt="Blocks of color with the hex code on top in either black or white depending on which contrasts more" src="http://media.24ways.org/2010/suda/chips-50.gif"></P> <P>If we use the simple ’50%’ contrast function, we can see that it recommends black against all the colors except the dark green and purple on the second row. In general, the equation feels the colors are light and that black is a better choice for the text.</P> <P class=image><IMG alt="Blocks of color with the hex code on with the contrast calculated using the YIQ function" src="http://media.24ways.org/2010/suda/chips-yiq.gif"></P> <P>The more complex ‘<SPAN class=caps>YIQ</SPAN>’ function, with its weighted colors, has slightly different suggestions. White text is still recommended for the very dark colors, but there are some surprises. The red and pink values show white text rather than black. This equation takes into account the weight of the red value and determines that the hue is dark enough for white text to show the most contrast.</P> <P>As you can see, the two contrast algorithms agree most of the time. There are some instances where they conflict, but overall you can use the equation that you prefer. I don’t think it is a major issue if some edge-case colors get one contrast over another, they are still very readable.</P> <P>Now let’s look at some common colors and then see how the two functions compare. You can quickly see that they do pretty well across the whole spectrum.</P> <P class=image><IMG alt="Blocks of color and how the two functions compare calculating the contrast on common colors" src="http://media.24ways.org/2010/suda/chips-common.gif"></P> <P>In the first few shades of grey, the white and black contrasts make sense, but as we test other colors in the spectrum, we do get some unexpected deviation. Pure red <CODE>#FF0000</CODE> has a flip-flop. This is due to how the ‘<SPAN class=caps>YIQ</SPAN>’ function weights the <SPAN class=caps>RGB</SPAN> parts. While you might have a personal preference for one style over another, both are justifiable.</P> <P class=image><IMG alt="Blocks of color and how the two functions compare calculating the contrast on less common colors" src="http://media.24ways.org/2010/suda/chips-uncommon.gif"></P> <P>In this second round of colors, we go deeper into the spectrum, off the beaten track. Again, most of the time the contrasting algorithms are in sync, but every once in a while they disagree. You can select which you prefer, neither of which is unreadable.</P> <H3>Conclusion</H3> <P>Contrast in color is important, especially if you cede all control and take a hands-off approach to the design. It is important to select smart defaults by making the contrast between colors as high as possible. This makes it easier for your customers to read, increases accessibility and is generally just easier on the eyes. </P> <P>Sure, there are plenty of other equations out there to determine contrast; what is most important is that you pick one and implement it into your system.</P> <P>So, go ahead and experiment with color in your design. You now know how easy it is to guarantee that your text will be the most readable in any circumstance. </P></DIV> text/html 2011-08-25T13:33:21+01:00 website-design.mihanblog.com ramin h How to Optimise Web Pages for AdSense Ads http://website-design.mihanblog.com/post/113 <P> <SCRIPT type=text/javascript><!-- google_ad_client = "pub-0393033154860122"; /* ArticleGeek336x280 */ google_ad_slot = "6680365668"; google_ad_width = 336; google_ad_height = 280; //--> </SCRIPT> <SCRIPT type=text/javascript src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </SCRIPT> <!-- startprint --> <H1>How to Optimise Web Pages for AdSense Ads</H1> <DIV class=author>By: <FONT color=#2554c7>Balraj BaaLee</FONT></DIV> <P>If you are using Google AdSense or any similar program for earning revenue from your web site, then it is high time you realize the secrets of earning high Click Through Rate hence high revenue from your web pages. If you keep following points in mind then you may be able to increase your revenue appreciably. <BR><BR><FONT color=#4725c7><STRONG>Page Content</STRONG><BR><BR></FONT>• AdSense can't interpret images without captions, the value of alt attribute in the img tag and surrounding text, so keep images to a minimum. If you are forced to use images, use proper captions and alt attributes.<BR><BR>• A single page of yours should have preferably same content to get more contextually relevant ads. Segregate pages having different content.<BR><BR>• Choose keywords on your page carefully. Certain keywords have a higher CPC. <BR><BR><FONT color=#4725c7><STRONG>Page Size</STRONG><BR><BR></FONT>• Just have the right amount of content on your web page.<BR><BR>• If you have a large amount of content on any topic, still keep the pages short, because same amount of content spread over smaller pages make room for more pages. More pages mean more place for advertising meaning more revenue. <BR><BR>• However, keep in mind that if you breakup any article unnecessarily into more pages, it may be irritating to the viewer. Hence, choose placing your same type of content on different pages carefully e.g. If there is a natural break in the content, or the paragraph heading changes, the content may be spread over different pages.<BR><BR>• Keep the page width in mind. Cater for people who still keep their screen size to 800x600 or less. As far as possible, avoid requirement of horizontal scrolling. <BR><BR><FONT color=#4725c7><STRONG>Refresh Page Content Regularly</STRONG><BR><BR></FONT>• Search engines really appreciate new content. Take a bit of effort to provide content that appears new. You may not be able to change the reference content however; you can have RSS feeds from relevant sites to refresh the content regularly.<BR><BR>• The idea behind fresh content is that people should keep coming back to your site again and again. <BR><BR><FONT color=#4725c7><STRONG>Ad Positioning</STRONG><BR><BR></FONT>Studies have shown that ad positioning is crucial to content revenue generation. Positioning means the physical position of an ad on a web page, the size of the ad, and also which page(s) on a site carries an ad.<BR><BR>• You need to tweak your ads in terms of positioning regularly till a design that gives you the best CTR.<BR><BR>• Most studies show that ads positioned above the fold at the beginning of the page do better than ads lower on a page as the people don't have to scroll down to read down your Ads.<BR><BR>• One major positioning issue is context. Position your ads in such a way that they are contextually relevant and generate a high revenue.<BR><BR>• Donot overload pages with Ads. <BR><BR><FONT color=#4725c7><STRONG>Ad Style</STRONG><BR><BR></FONT>There is no secret formula to tell you that which AdSense color or color pallete will work best. Results are different for different sites and experimenting and monitoring the results may give the best option. You can chose two options that you can choose: <BR><BR>• Use the color palette to match your site, this way, some users may click on the ads because they think they are part of your site, not ads. Click here to see an example.<BR><BR>• Use a color choice that starkly contrasts with your site. Your ads will be more noticeable, and thus it is more likely that they may be clicked. Click here to see an example. <BR><BR>The end point is, you will have to constantly tweak your ads in terms of positioning and placement. If you can track your ads, nothing like it as you will be able to know which ads and pages are giving you a higher revenue so that you can use similar templates for other pages.<BR></P>