There is no doubt that WordPress is the best content management system (CMS) for your website. Sure, countless CMS’ are available, ranging from open-source to paid, and you’ll hear evangelists on all sides swearing that their choice is the best. But Drupal, Joomla or any other CMS doesn’t hold a candle to WordPress for its ease of use, security and reliability.
A book about code that doesn8217;t read like a 19808242;s VCR manual8230; It8217;s not just for programmers, it8217;s written and presented to make it easy for designers, artists, bloggers, content and e-commerce managers, marketers to learn about the code used to write web pages8230;
Learn how to:
Read and write HTML5 and CSS3
Structure and design web pages and sites
Prepare images, audio and video for the web
Control typography and layout
You will also find lots of helpful hints and practical advice alongside the code
Processing is an open source programming language and environment for people who want to create images, animations, and interactions. Initially developed to serve as a software sketchbook and to teach fundamentals of computer programming within a visual context, Processing also has evolved into a tool for generating finished professional work. Today, there are tens of thousands of students, artists, designers, researchers, and hobbyists who use Processing for learning, prototyping, and production.
Metropolitan Works is London’s leading Creative Industries Centre, helping designers and manufacturers develop ideas and bring new products to the marketplace through access to digital manufacturing, workshops, knowledge transfer, advice, courses and exhibitions.
At the heart of Metropolitan Works is the Digital Manufacturing Centre, housing a range of new technology for prototyping, manufacture, research and experimentation.
An excellent 26-minute talk by Jonathan Hoefler of the Hoefler 038; Frere-Jones about how they think about designing typefaces and webfonts in particular.
Today, as webfonts are buoyed by a wave of early-adopter enthusiasm, they8217;re marred by a similar unevenness in quality, and it8217;s not just a matter of browsers and rasterizers, or the eternal shortage of good fonts and preponderance of bad ones. There are compelling questions about what it means to be fitted to the technology, how foundries can offer designers an expressive medium (and readers a rich one), and what it means for typography to be visually, mechanically, and culturally appropriate to the web. This is an exploration of this side of web fonts, and a discussion of where the needs of designers meet the needs of readers.