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Today we’re going to see if we can take a single image inserted via HTML and make it look like a messy stack of images using only CSS. The key: pseudo elements.
Along the way we’ll see how embarking on a project like this can quickly lead to some messy code and how we can combat that with some awesome DRY coding practices.
So you think you’re a pro at spotting typefaces eh? You’re a real type lover with at least one clever t-shirt dedicated to the cause of teaching the world to kern. You’ve seen the Helvetica documentary eight times and you love to walk around a crowded city with a superior smirk on your face, pointing out all the instances of Helvetica that you see.
The big problem with this, aside from the fact that you seem a little full of yourself, is that Helvetica can actually be pretty tricky to identify if you haven’t done your homework. I’m willing to bet that you’ve even pointed at Arial (gasp!) a time or two and boldly proclaimed it to be Helvetica! Save yourself the embarrassment and learn some great tricks for spotting the most ubiquitous font on the planet.
I love finding free tools that are capable of making my job (and yours) just a little bit easier. The web developer community is positively overflowing with talented people who are more than willing to share their creations with the world while asking nothing in return.
Today we’re going to look at one such tool from Erskine Design called Gridpak. With it we can quickly and easily generate our own responsive grid for building web pages that work well on lots of different screen sizes. It’s a little tricky to implement though so we’ll help you figure out how to set up your styles after you grab the download.
What’s the difference between an element and a tag? When should I use strong and when should I use bold? What the heck is the DOM? When you’re new to web design, one of the biggest hurdles to overcome is always the jargon. So many technical terms are thrown around flippantly and rarely explained outright that it’s easy to get lost.
This series will serve as a basic introduction to some terms that every new web designer should be sure to add to his or her vocabulary. This won’t be an exhaustive vocabulary list but rather a primer on a few terms that I found difficult to wrap my head around when I was a beginner. We’ll start with HTML today and move on to CSS in the near future.
We’ve been using floats for layout pretty much since we left tables behind. It’s a quirky solution that can often cause troubles, but if you know what you’re doing, it works.
One interesting alternative to floats that people are turning to more and more lately is to set the display value of an element to inline-block. What does this do exactly? How is it like a float? How is it different? Let’s dive in and see what we can discover.
I was recently discussing the merits and various features of CSS preprocessors with a colleague. We covered all of the basics: how it’s great to have variables and how mixins can save you an incredible amount of coding time. When the conversation turned to some of the more obscure features though things got interesting. When I brought up the various color operations, my colleague boldly proclaimed that no “real designer” could ever find a legitimate excuse for using this feature and not picking his own colors manually.
In the words of Barney Stinson, “challenge accepted!” Today we’re going to create an awesome faux 3D text effect with pure CSS and then see why it’s a lot easier to do it with the color operations in Sass or LESS.
The other day a friend of mine said something that caught my attention, “I’m trying to learn how to slice a PSD.” It’s a simple enough statement. As soon as he said it, I knew exactly what he was talking about, and yet, there was something in there that didn’t quite set right.
Upon seeing my hesitation my friend responded with a question, “Do we still slice PSDs?” Great question! For beginners, jargon isn’t merely jargon, it implies a process and suggests a method of action. For this reason, it’s often helpful for more advanced developers to define their terms in a way that is meaningful to others. Today we’ll dive into the theory behind the process of converting a PSD to to a web page and end with a discussion on the ups and downs of designing in the browser.
Responsive design isn’t a fad that arose because of a cool CSS technique, it’s an answer to a problem. Always remember that and constantly ask yourself whether or not you’re really adequately addressing that problem. If you’re using copy and paste to insert your media query breakpoints, your solution might be flawed.
Let’s discuss why media queries exist and how we can leverage them to truly solve the quandary of the ubiquitous web. Let’s talk about why you should let your content determine the breakpoints of a layout, not hypothetical screen sizes.
Once upon a time we relied purely on Photoshop to create fancy image effects. These days though we’re turning more and more to pure CSS to add eye candy to our images. Applying custom image treatments using code makes for an infinitely flexible workflow that’s easy to tweak at any time.
Today I’ll walk you through creating some extremely simple and fun CSS image tricks. From polaroids to vignettes, you won’t believe what we can pull off.
Recently, we published a piece titled 5 Incredibly Useful Tools Built Into Twitter Bootstrap, which took a look at the basic structure of Twitter’s Bootstrap framework and walked you through implementing some of the major components.
Twitter just released Bootstrap 2.0, an update so large it equates to a near full rewrite. There are quite a few new features and toys to play with, but the real headliner is that the framework is now fully responsive. Join us as we dig in to see how the new grid works and what other cool new features have been added. You’ll learn how to implement Bootstrap in your projects and will also pick up some extremely handy CSS techniques that you can use anywhere.
What do script typefaces suggest in a design? Will they make your design dainty or masculine? Timeless or retro? Goofy or sophisticated? Would you believe me if I said all of the above and more?
Today we’re going to look at a massive, handpicked selection of logos from Logopond that all use script and cursive writing in some form or another. The point is to showcase the incredible versatility of these types of fonts. The next time you’re designing a logo and wondering if a script is appropriate, you’ll be able to come back here and browse the various themes that different types of scripts can suggest.
Odds are, by now you know all about Sass and its brethren (LESS, Stylus, etc.). Love them or hate them, these CSS preprocessors are making a big splash in the development community. In many ways they represent a faster, more efficient way to write CSS and if you get on board, you’ll no doubt appreciate the flexibility that they bring to your project.
Once you get bitten by the CSS preprocessor bug, you’ll inevitably start look at HTML and wondering why it has to be so cumbersome. Why doesn’t someone drastically simplify the way we write markup? It turns out, the same people that brought us Sass have done just that with a language called Haml. Today we’re going to take a look and see how to use Haml to completely change the way you write markup.