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But keyboard shortcuts aside, Photoshop has advanced tremendously in its handling of type and now offers essentially the same typographic func- tionality that Illustrator does. As a result, many designers use Photoshop for everything. Photoshop 5.5 and higher also allows you to select an anti-aliasing option for type, apply simulated styles to type, and turn off fractional character widths to improve the appearance of small, bitmapped type displayed at low resolution. Anti-Aliasing As all designers know, anti-aliasing enables you create the appearance of smooth-edged type by partially filling in the edge pixels with intermediary colors. For those who don’t know, we provide the following handy exercise. Exercise 4: The Great Intermediary Launch Photoshop and create a new blank document with a white back- ground. Work at 72ppi. (We always work at 72ppi on the Web.) Select the type tool. Click in the image to set an insertion point. Enter some text in the Type Tool dialog box (Photoshop 5.5) or directly on the image (Photoshop 6). Format the text however you like. For the sake of argu- ment, we’ll type our names in black, 24pt. Helvetica. “Crisp” anti-aliasing is chosen by default. (If it is not, choose it now.) Close the Type dialog. Go to Photoshop’s Navigator menu and blow up the image by 400%. Look at the edges of any letter. Those soft gray pixels are anti-aliasing. Now you know. The purpose of anti-aliasing is to fool the eye into seeing type as smoothly rounded in spite of the low resolution of computer monitors. Anti-aliasing is also used for images unless you’re deliberately going for a bitmapped, pixellated look. And you’re usually not. Whether for type or images, it can cause problems when working with GIF transparency. 241 Taking Your Talent to the Web 13 0732 CH09 4/24/01 11:22 AM Page 241 Exercise 5: Match 'Em Up Open Photoshop and create a new blank document with a white background. Choose any two web-safe colors from the Photoshop Color Picker or the Vis- iBone web palette. For the sake of argument, we’ll choose a dark purple and a light green. Select a circular area and fill it with the foreground color (dark purple). Save the image as circle.psd. Hide the Background layer so that it becomes transparent. Save for Web. Choose GIF (choosy mothers choose GIF) and click the Transparency checkbox. Select the background (light green) color as your transparency color. Optimize at 16 colors with dithering on and the web-safe slider dragged to about 40% web-safe. Save the image as circle.gif. Open BBEdit or your HTML editor of choice. Create a new basic HTML document with a background color to match the light green (transparent) background of your GIF image. Save the file as circle.html. Open it in any web browser. The circle should look good and should have a soft edge thanks to anti- aliasing. Return to the HTML document and change the <BODY> background color to a new, contrasting color. Say, black (#000000). Save the file and reopen it in the web browser. The circle should be surrounded by an ugly light green halo. That is improper anti-aliasing. What have we learned? Always anti-alias against the color you expect to use in the finished web page. How do you anti-alias a transparent type (or image) GIF when the site uses a gradient background image or a random texture? You can’t. So avoid using those types of backgrounds unless you never need to set transparent GIFs in the foreground. 242 HOW: Visual Tools: The ABCs of Web Type 13 0732 CH09 4/24/01 11:22 AM Page 242 You should avoid gradient background images anyway because they will dither horribly on 256-color monitors, don’t render properly in the GIF for- mat, and if exported as JPEGs cannot be web-safe. And you should avoid busy random textured backgrounds as well because they are generally hideous, and they make text harder to read. Even beau- tiful pages developed with subtle background tiles are not much use if no one can read the text they contain. The PNG format mentioned earlier offers real transparency, which means a PNG image could be used against any type of web background without ill effect. But the trouble with PNG is…well, we’ve covered that to death already. Specifying Anti-Aliasing for Type Anti-aliasing options in Photoshop and ImageReady allow you to choose from three levels of anti-aliasing to modify the appearance of type online. You can choose to make type appear crisper, smoother, or heavier. Exercise 6: Shape Up—Sizes and Faces Create a new type layer by typing in a new, blank Photoshop document. In the Type Tool dialog box, select an anti-aliasing option from the pop-up menu. Choose: ■ None to apply no anti-aliasing. Useful for bitmapped fonts such as Joe Gillespie’s Mini 7 (www.wpdfd.com/mini7.htm), Jason Kottke’s Silkscreen (www.kottke.org/plus/type/silkscreen/), or the Fountain Type Foundry’s Sevenet (www.fountain.nu). ■ Crisp to make type appear sharp. This is the default setting. It renders well and uses less bandwidth than Strong or Smooth. ■ Strong to make type appear heavier. This is an impressive setting, but because it requires additional anti-aliasing to create its effect, it fights the LZW compression algorithm and results in larger file sizes. We are talking about very small differences here, but these differences do add up. ■ Smooth to make type appear, well, smoother. 243 Taking Your Talent to the Web 13 0732 CH09 4/24/01 11:22 AM Page 243 Experiment with different sizes and faces to get a feeling for which type of anti-aliasing is appropriate for each face, size, and weight. This also varies depending on the background being used, the visual interaction of other ele- ments on the page, and so on. Most web designers choose Crisp most of the time. General Tips As just mentioned, the smoother or heavier the anti-aliasing, the greater the number of edge pixels in various shades, and the more bytes the result- ing GIF image will require. When bandwidth is at a premium—and it is always at a premium—err in the direction of Crisp. Not all type needs to be anti-aliased. Smaller type might be easier to read with no anti-aliasing at all. For instance, 10px Helvetica will be easier to read (and will use up less bandwidth) if you choose “None” in the Anti- Aliasing dialog box. But rather than create GIF type of that nature, a more responsible course would be to use HTML and CSS to create small bits of web type because such text may be easily copied, pasted, and indexed by search engines—whereas type GIFs are simply images. GENERAL HINTS ON TYPE Pardon the pun. (Get it? Type? Hints? Never mind.) Every aspect of web design involves trade-offs and potential problems for some web users. When setting typography for the Web, here are some points to keep in mind. The Sans of Time Let’s just get it over with: Sans serif fonts are far easier to read onscreen than serif fonts. This is the exact opposite of what is true for books. But printing is high-resolution; the computer screen is low-resolution. There are simply not enough pixels to correctly render the tiny details required by serif typefaces. This is especially true with smaller type, such as body text and subheads. (It is also true for CSS text.) 244 HOW: Visual Tools: General Hints on Type 13 0732 CH09 4/24/01 11:22 AM Page 244 It helps to think of your type GIFs as icons, which must be rendered pixel by pixel in a 72ppi environment—because that is essentially what they are. Anti-aliased fringe colors must use up an entire pixel (there are no half- pixels). Now add subtle ascenders and descenders to this mix, attempt to wedge such nuances into discreet pixels, and you can see why serifs work poorly onscreen. You also can see why typographic colors should be web-safe. Add dither- ing to the unholy mix of anti-aliasing and serifs, and you have an illegible mess. This inherent preference for sans serifs on the Web might be behind the present resurgence in Helvetica. We could be talking through our hats, but we haven’t heard a better theory, and as we’ve shown earlier, web styles have been entering mainstream media as fast as designers could rip each other off. From this discussion, it might seem that the Web is no place for fine typog- raphy. But that is not the case. Juxt Interactive is one agency that creates superb type treatments online, and their work repays careful study (www.juxtinteractive.com). Space Patrol In most cases, web type is more readable when it is widely spaced because such spacing makes allowances for the imprecise spreading of unruly edge pixels. So when setting type, try loosening your tracking in the Type dialog box. If you’ve done any TV design, it’s pretty much the same thing. If you haven’t, just trust us. Lest We Fail to Repeat Ourselves Always start with web-safe colors for your type and your background to avoid ugly dithering in low-end monitors. 245 Taking Your Talent to the Web 13 0732 CH09 4/24/01 11:22 AM Page 245 Accessibility, Thy Name Is Text The more text you create graphically, the less a search engine will under- stand about your client’s web page and the more problems you create for readers with disabilities or those using alternative web browsers. As mentioned elsewhere in this book, use <ALT> and <TITLE> attributes in your HTML <IMG> tags to explain what the search engine and the disabled visitor cannot see. If HTML and a text GIF look equally good, choose HTML because it increases the accessibility and usability of your page, makes it easier for search engines to locate the relevant information, and almost invariably uses less bandwidth than graphics. In most cases, HTML text can be resized by the user. Type GIFs cannot. Keep in mind that small type that looks great to you might be difficult or impos- sible for folks with impaired vision to read. If you were wondering why you see so much large bold sans serif typogra- phy on the web, now you know. It’s not that web designers are copycats. Well, we are, but it’s not just that. It’s that we’ve learned by experience that small fonts, sans serif fonts, and tightly kerned text can all be problematic for the people who use our sites. As support for CSS improves, it becomes a little easier to sell clients on CSS-style text instead of type GIFs. But resistance to this notion is wide- spread because clients seek branding, and designers like creating it. And, most of the time, type GIFs just work better for that purpose, regardless of their accessibility issues. NAVIGATION: CHARTING THE VISITOR’S COURSE We covered the guiding principles of navigation in Chapter 3, “Where Am I? Navigation & Interface.” And in Chapter 7, “Riding the Project Life Cycle,” we learned that developing a branded, intuitive navigational menu—or a series of hierarchical navigation menus—is only the beginning and that most web firms perform interface testing, asking volunteers to work with the developing site. And as problems are identified, the designer is asked to rethink and redesign. 246 HOW: Visual Tools: Navigation 13 0732 CH09 4/24/01 11:22 AM Page 246 Focus group testing in advertising often results in mediocre campaigns, but focus group testing of a web interface can result in a better site—if those who run the tests know what they are doing. What this means in the context of Photoshop is that you will be creating a lot of comps until you truly crack the interface problem, and then you will be refining your comps based on feedback from user tests. When the perfect interface has been designed in Photoshop, there is still more to do. Often, the design team will implement a menu bar that changes state via JavaScript as the visitor navigates the site. On the simplest level, changing state means that the menu bar subtly indicates where the user is within the site structure. For instance, when the visitor reaches the About section of PlanetRX (http://www.planetrx.com/information/about.html), the About portion of the menu bar is highlighted to remind the visitor “you are here.” Refer back to Chapter 3’s Figures 3.2 and 3.3 to see how this “you are here” state change is handled on the Gap site. Changing state to reinforce the visitor’s position within the site can be accomplished by simple HTML, via JavaScript, or with the help of publish- ing systems that swap visual elements on-the-fly. The choice of imple- mentation varies by the scope of the site and the size of the budget. On a small site, the menu bar can be changed via HTML or JavaScript. On a very large site that is constantly updated, a publishing system will probably be used. No matter how the technique is implemented, it is up to the designer to create the alternate state graphics on separate layers in the Photoshop document. (These will come in handy later in the process when the work is sliced and produced in ImageReady.) Typical navigation menus also “light up” or otherwise change state when the user drags the mouse cursor over a given menu item selection. Again, this is accomplished via JavaScript, and again, though there is no substi- tute for home-cooked code (or working with good developers), ImageReady can help out, as we are about to see. 247 Taking Your Talent to the Web 13 0732 CH09 4/24/01 11:22 AM Page 247 SLICING AND DICING Photoshop is the primary tool used to design navigational menus and their associated text (unless these menus are created in CSS, per the preceding discussion). Photoshop and Illustrator are also used to create assorted nav- igational elements such as arrows and buttons. The larger and more com- mercial the site, the greater the pressure to create uniquely branded elements. These elements can be created in separate image documents. For instance, you might create hundreds of arrows in Illustrator before choosing one for your design. Similarly, you might (and probably will) go through several rounds of logo development. But after they are created and chosen, all of these elements are generally layered into a single Photoshop comp, which is used to sell the work to the client (see Figure 9.13). Of course, as we’ve just said (and as Chapter 7 explained), this “selling” is a multistage process, with continual refinement occurring based on research, user testing, and the client’s strange whims. 248 HOW: Visual Tools: Slicing and Dicing Figure 9.13 Here is a Photoshop web layout that combines photography, logos, and interface elements. We used this layout to sell a final web design to JazzRadio.Net (www.jazzradio.net). 13 0732 CH09 4/24/01 11:22 AM Page 248 After it’s sold, production begins, and at this point Photoshop’s ImageReady module comes into its own. Knives were made to slice cake, and ImageReady was made to slice web comps. The process begins by dragging Photoshop guidelines across any area that will have to be sliced—for instance, dragging guidelines to separate one menu bar item from the next (see Figure 9.14). 249 Taking Your Talent to the Web Figure 9.14 The next phase is dragg- ing Photoshop’s guides to mark areas to be con- verted to slices in the ImageReady module. (Photoshop 6 can create the slices itself.) Though slicing such comps is the normal next step, for this project we opened a text editor and re-created the layout in HTML and CSS to minimize bandwidth and enable the layout to squash or stretch in true “liquid” fashion. With Photoshop 6, you can create and name slices right in the Photoshop program itself. With Photoshop 5.5, having dragged guides, you “Jump to ImageReady” via the File menu and automatically convert your guides to slices at the touch of a button. ImageReady generates the relevant HTML, animations (if any), and JavaScript rollover functions (if any). We don’t mean to imply that this happens instantly, of course. There is a great deal of typing, dragging, and layer selection involved. Rollovers are created by selecting new layers for each rollover state and typing the relevant URL and text (if any) in the Slices dialog box. Now you can see why rollover states are visually designed during the comping phase. Not only does this satisfy the client, it also enables you to focus on pro- duction tasks without worrying about previously unconsidered design issues. 13 0732 CH09 4/24/01 11:22 AM Page 249 Performing all these production tasks is a fairly straightforward process, and the Photoshop manual spells it out so completely that we won’t bother doing so here. One thing Photoshop’s manual does not emphasize (but we will) is that you can often replace selected slices with bandwidth-friendly HTML and CSS equivalents. For example, instead of generating a large brown GIF image, you can generate an empty table cell filled with the appropriate background color, merely by choosing No Image from the Type drop-down menu. This by no means converts a browser-centric, brand-heavy site into a light, accessible one. It does, however, help reduce overall file size, and it does make life a bit easier for those using nontraditional browsers, given that this will be one less pointless image to trouble them with its incompre- hensibility. After the process is completed, sophisticated web designers take the HTML and JavaScript generated by ImageReady, open it in an HTML text editor such as BBEdit, PageSpinner, or HomeSite, and edit as needed. For exam- ple, you might substitute a simpler JavaScript function for one generated by ImageReady. ImageReady’s JavaScript is verily a two-edged sword. Novices and experi- enced web designers in a hurry can rightly consider ImageReady’s auto- mated scripting a godsend. But it is equally easy to generate massively confusing or even completely dysfunctional scripts until you familiarize yourself with the process. The first time we used ImageReady to automat- ically generate image rollovers, we ended up with a folder full of bizarrely named duplicate slices and a script that changed every image on the page at the slightest movement of the mouse. Then we read the manual. Most professionals will use ImageReady to generate slices and raw HTML, then tighten up its markup for better standards compliance and lower bandwidth, and replace its often complex scripts with simpler ones. In large web agencies, web technicians will perform these tasks. 250 HOW: Visual Tools: Slicing and Dicing 13 0732 CH09 4/24/01 11:22 AM Page 250 [...]... AM Page 251 Taking Your Talent to the Web THINKING SEMANTICALLY Photoshop and ImageReady perform vital tasks splendidly, but what they cannot do is generate semantic websites predicated on the separation of style from content Being visual tools, they necessarily create visual sites— and of course this is what most clients want and what most designers are comfortable with But this is not the only way... and not necessarily the best way to create websites Visual sites are a comforting link to the past, to our history of print and package design—of concrete objects made beautiful and intelligible through precise design Semantic sites are something else again Because they are rooted in images, and images are necessarily of fixed and specific sizes, Photoshop and ImageReady generate image-laden sites laid... underlying document structure.) Microsoft gave us the attribute for the tag We could control typography in a limited, Flintstonian fashion would make text on the page appear in Arial if the visitor’s operating system offered that font If not, the text would appear as Helvetica If neither font were available, visitors would see their default typeface (probably... create templates that function as “content containers.” Such sites are still branded and still function as all sites function, but they are less tied down by fixed elements than traditional sites This makes them easier to revise and update (just change a style sheet) and harder for clients to screw up when they take over the maintenance chores It also makes them easier for nontraditional browsers to. .. chores are handled by a separate group of professionals Even at job like that, you will still need to know CSS Why? It’s because even when HTML chores are assigned to web technicians, it is almost always the web designer’s job to create the style sheet 14 0732 CH10 4/24/01 1:04 PM Page 257 Taking Your Talent to the Web That may seem puzzling If web technicians and developers handle all other markup and... presentation to our content, making it harder or even impossible for those with disabilities or those using nontraditional browsers to access the information on our sites 14 0732 CH10 4/24/01 1:04 PM Page 255 Taking Your Talent to the Web Many of us went beyond using tables and text images We harnessed invisible powers to our task As you know, in Photoshop any layer may be fully or partially transparent... to appear against a black background for maximum contrast and impact Text, of course, wanted to appear on white We’re guessing that the makers of the first browsers compromised by giving us a washed-out gray that would provide rudimentary contrast for either type of foreground element Regardless of their reasons, the resulting web pages were not much to look at 14 0732 CH10 254 4/24/01 1:04 PM Page... content (otherwise known as writing and such) Disadvantages of Traditional Web Design Methods The way web designers have historically designed pages, style and content are hopelessly intermingled Text appears inside table cells tags are wrapped around every paragraph 14 0732 CH10 4/24/01 1:04 PM Page 259 Taking Your Talent to the Web While this old system works, and while it is used in literally... Assistants (PDAs), and audio browsers for the blind Such devices represent a growing and vital market On the other hand, if content and style are formally separated, then nongraphical browsers can simply display text and links, while computer users with graphical browsers still enjoy a rich visual experience created by web designers In addition to the harmful effects on web-enabled devices, the mingling... language in hopes of forcing it do our bidding We made a “tag soup” of the Web, using (“typewriter text”) to force the browser to display a monospaced font (usually Courier) To create vertical space, we deployed transparent GIFS or typed structurally meaningless carriage returns such as: or went so far as to create “invisible headlines” which were never intended to be read To create . covered that to death already. Specifying Anti-Aliasing for Type Anti-aliasing options in Photoshop and ImageReady allow you to choose from three levels of anti-aliasing to modify the appearance of. preceding discussion). Photoshop and Illustrator are also used to create assorted nav- igational elements such as arrows and buttons. The larger and more com- mercial the site, the greater the pressure to create uniquely. idea. But we do have a theory. Namely, images seemed to want to appear against a black background for maximum contrast and impact. Text, of course, wanted to appear on white. We’re guessing that
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