A beautiful promotional film for the Polaroid SX-70 camera, produced by Charles and Ray Eames. I want one. (Via 37signals)
As the page turns on another year, just enough time to close the book on a few personal projects and responsibilities. In doing so, I hope to free up some time (and mind space) for new projects to be unveiled in the new year.
The Christmas break provides the time to tie up loose ends and make much needed progress on personal projects. At least, that was the plan. Once again I find myself distracted by the task of making this website just that little bit faster.
If anything, this whole episode is a demonstration of the slippery charms of tone of voice. The terms and conditions were an example of clear language being used to convey information as simply as possible – it just happened to be controversial information.
The ‘clarification’ is an example of tone of voice being used to obscure and mollify. Almost like a filter applied to a photo, giving it nice fuzzy edges and an air of authenticity.
Earlier today, 24 Ways published an article in which I outlined five reasons why I believe two current proposed markup patterns for responsive images are largely redundant. Here I provide some follow-up, and hopefully clarification around the points I raised.
Justin Avery, who curates the Responsive Design Weekly newsletter, asked me four questions as part of his December Interview Series. Here are my answers.
Peter Saville talks about the genesis of his cover for Unknown Pleasures and its enduring appeal.
Jason Santa Maria:
Ratios and baselines grids can be too rigid for the inherently flexible nature of the web. Just because something works at one size doesn’t mean the same ratio will be appropriate at larger or smaller sizes.
I often design websites to a vertical rhythm, even though maintaining it can be difficult during development. Jason’s arguments made me realise that this practice goes against the grain of the medium; something I discourage in The Web Aesthetic. I need to let go of my baseline grids.
Website optimisation can be a cruel game; everything has a number that begs to be reduced, but doing so requires a lot of experimentation, research and testing. And when you’re playing with the last hundred or so kilobytes, there’s little reward for your effort.
At the beginning of this year I was struck by a realisation, prompted in part by the discussions around responsive images but also the artistic ingenuity of the image optimisation techniques being used by Jeremy. How might the visual aesthetic of the web change if we were to acknowledge its nature and embrace its constraints?
Bruce Lawson followed up on my brief thoughts with his own, having attended Adobe’s ‘Create The Web’ event in London. As I suspected, some of the code produced by Edge Animate isn’t pretty, and there’s some weird messaging around browsers not based on WebKit. Yet he agrees that overall, this is the right strategy for Adobe.
One of my favourite photos from a day exploring London early last month.
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