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Shalom! Showcase Of Web Design In Israel

February 23, 2010 in Design by Brandon Corbin

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Israel is a young country with an old heart. It has been quickly built up over the last 60 years as an independent democratic Jewish state and is shockingly cutting edge for a country so new.

It is a tiny surreal sliver of land smack dab in the middle of the Middle East: a very European, modern civilization… just programmed to Jewish tradition. Israel has great weather, nice beaches along the Mediterranean sea, fresh and tasty food and a warm and friendly culture. It is home to historic holy sites of the world’s three major religions, and buses drive down streets whose stones are older than anything you’ll find in Europe.

href="http://israblog.nana10.co.il/tblogread.asp?blog=387973"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/israeli-design-00.jpg" width="500" height="394" alt="Israeli-design-00 in Shalom! Showcase Of Web Design In Israel"/> />Israeli design at its best: href="http://israblog.nana10.co.il/tblogread.asp?blog=387973">ILook, an Israeli street-fashion blog. The text on the left side says: “Send me a good picture of a hipster and win 300 bottles of Maccabi beer” (via Tal Sach).

It feels as if Israel has one foot in Silicon Valley and the other in ancient Canaan — with an undercurrent of Middle Eastern hospitality and culture in this already multi-cultural society. And yet, English is commonly spoken here because many Jews from all over the world immigrate here regularly (not to mention the thousands of tourists from around the globe who pour in for sun, falafel, nightlife and a dash of biblical archaeology.) In some areas, you hear as much Spanish, French, Russian and English on the streets as Hebrew.

Because of its small size and the everyone-knows-everyone effect of being a bunch of Jews, cabin fever (and completion of mandatory army service for the younger generation) drives Israel’s citizens out on frequent travels across the globe, to India, Asia, and South America. As a result, a unique mix of cultural discoveries abroad is woven into Israeli culture.

Tel Aviv is Israel’s most urban, chic city: the capital of all things sexy, secular and spiritual (in alternative ways to traditional Judaism.) You can read more on Tel Aviv’s unique soul in href="http://www.ynet.co.il/english/articles/0,7340,L-3702035,00.html">this article by Ehud Azriel Meir.

Much like many of Israel’s cities — hastily built and functional, yet poorly planned — such is the unfortunate state of most of the country’s websites. Most Israeli websites look unfinished, and they probably are. And Hebrew being a right-to-left language doesn’t help! Being victims of circumstance, Israeli Web designers cannot unleash their creative potential to make modern, usable working websites.

href="http://www.agadir.co.il/"> width="500" height="382" alt="110 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/110.jpg"/> /> href="http://www.agadir.co.il/">agadir, a Hamburger joint.

Even though some cutting-edge technologies are being developed right here in Israel — which is home to former hot startups such as ICQ (which became AOL messenger) and Intel (which is inside your machine… have a look!) — most business owners still putter around in IE6. Israel opened its first official Mac store only last year.

[By the way: The href="http://www.smashingmagazine.com/network-posts/">network tab (on the top of the page) is updated several times a day. It features manually selected articles from the best design blogs.]

What’s Unique About Israeli Web Design?

Here are some other issues that designers face here (and, I imagine, in most places outside the US, Canada and Western Europe):

  • Websites must work in legacy versions of IE (though IE6 is finally almost out). Israeli business owners emphasize this more than getting their websites to work in Safari or Firefox.
  • There is a strong liking for Flash-based designs… it must be a cultural thing.
  • Little value is given to Web designers (and those in related fields, such as copywriting — although marketers and SEO people seem to being doing okay), and many designers are not taking back their profession.
  • Clients care more about cost than usability and standards.
  • CSS-based designs are not standard, and many of the people responsible for hiring are not aware of it.
  • Big agencies are usually asked to make conventional designs, and although they do quite impressive branding work, the websites they turn out are behind the times. Because they are launched by such big companies, the websites succeed “in spite of themselves,” leading many to believe that this is the formula for wildly successful websites: for Agency X to do our website the way they did for Company Y.

href="http://www.lionways.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/lionways.jpg" alt="Lionways in Shalom! Showcase Of Web Design In Israel"/> />The href="http://www.lionways.com/">Lionways website.

  • Many entrepreneurs here believe that because they are smart and successful in tech that they know your field as well as their own. They think they can write English better than a US-born copywriter and can design better than a graduate of FIT. Needless to say, this can be frustrating for the person trying to build a new website for them.
  • Despite that, usability is starting to be demanded by many website owners, especially the genuinely intelligent tech companies, Web app providers and social media startups; hundreds of these are in Israel, mostly in English.
  • Israel is always a few years behind American and European trends and standards, and this is no different on the Internet.

The State Of Affairs

We spoke to key people in the Web design industry in Israel to get their point of view on the state of affairs.

Q: Do you find you have to convince and educate clients a lot to be able turn out the high-end websites that you do?

Arie Zonshine ( href="http://www.lionways.com/">Lionways.com): “Most people calling for a quote don’t really know what they want. It’s as if they are calling to get the price of an air conditioner. It doesn’t matter if they want a new site or a make-over of an existing site: they usually don’t have written specifications, they don’t know what kind of pages they want and they don’t have a visual concept.

“So, I have to guide them through a series of questions, maybe looking at a few sites together in order to understand their needs. Sometimes, their lack of knowledge leads them ask for functionality that would work against them in terms of SEO, for example. I usually don’t have to work too hard to convince them to do things the right way.”

href="http://www.eranpal.com/flash.htm?MainImage=16"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/eran.jpg" width="500" height="374" alt="Eran in Shalom! Showcase Of Web Design In Israel"/> /> href="http://www.eranpal.com/flash.htm?MainImage=16">Eran Pal

Q: Are clients surprised by how much you quote them? What buzzwords do you hear most from clients?

Zonshine: “Always! Naturally, customers want the best price and, unfortunately in most cases, are not aware at all of the time and work invested. It’s even more problematic with issues such as Web standards and browser compatibility, because these aspects of the work have no visual impact on the website and are difficult for the client to appreciate. [I hear] SEO, AdWords and Flash. Very few mention browser compatibility, Web standards, semantic mark-up or CSS-based design”.

Q: Approximately what percentage of Israeli businesses are into the new standards of websites written in XHTML and CSS, that are non-Flash and that use minimal JavaScript?

Zonshine: “The numbers are unfortunately very low. I would say about 5%. Maybe less.”

href="http://vaza.co.il/project.asp?cat=Web&id=Alfred_Gallery"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/alfred2.jpg" width="360" height="500" alt="Alfred2 in Shalom! Showcase Of Web Design In Israel"/> /> href="http://vaza.co.il/project.asp?cat=Web&id=Alfred_Gallery">Alfred Gallery Exhibitions

Q: Why do you think most Israelis are into conceptual Flash designs that are hard to navigate, outdated and slow? Is this a cultural thing? Are more people waking up?

Zonshine: “In too many initial conversations with potential clients, I hear requests to make things ‘Move on the screen like in PowerPoint.’ Many Israelis forget that the inside is just as important as the outside, and that foundations are more important than a cool façade (i.e. a flashy home page with clever animation) that has nothing behind it. I do believe it’s a cultural thing: you can see it in many areas. The ‘great façade with no foundation’ combo is very representative of Israeli culture. You see it everywhere. However, I do believe that appreciation of quality grows with time, experience and knowledge. More and more people call in already understanding the disadvantages of a Flash-only website”.

href="http://www.towerofdavid.org.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/tower.jpg" width="500" height="399" alt="Tower in Shalom! Showcase Of Web Design In Israel"/> /> href="http://www.towerofdavid.org.il/">Tower of David

Q: Arie, I notice in your href="http://www.lionways.com/">portfolio that you still use Flash, though you seem to have found the middle road between Flash and usability. Please explain.

Zonshine: “Exactly. We wanted to make the point that cool and functional can work together seamlessly and are not contradictory. It was indeed an early decision that I took together with my partner Dana Ronen, who is responsible for the Flash programming on the site. We wanted to show creativity and Flash capabilities but also show that it can be done without compromising the accessibility, functionality and SEO of the site.

“So, on almost every page, there is a small or big gimmick in Flash, depending on the content of the page and its function. On the home page, the flying business card gets center-stage; similarly, on the ‘About us’ page, the laptop CD tray makes an exciting entrance. On other pages we wanted the client to focus on the content itself, so the gimmicks were demoted to a supporting role and, in most cases, done in Flash (e.g. the credit card terminal, the coffee steam and the compass) and in other cases in jQuery (e.g. the changing color stamp on the contact page)”.

href="http://www.bee-creations.com/Hebrew.html"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/honey.jpg" width="500" height="294" alt="Honey in Shalom! Showcase Of Web Design In Israel"/> /> href="http://www.bee-creations.com/Hebrew.html">Bee Creations Design Agency

Q: How does the fact that Hebrew is written from right to left influence your design work?

Zonshine: “If the site will be Hebrew, you just need to flip your way of thinking horizontally. In terms of layout, it means that the logo would be probably placed in the top-right corner of the page rather than the top-left. You also need to mirror the placement of elements on the page, because the visitor’s eye-tracking patterns are mirrored in Hebrew.

“The issue becomes more complicated when the site has both Hebrew and English or another left-to-right language. A good example of a dilemma that arises is a design that has a large background image, which I use quite often. When the background image cannot be flipped, it usually results in the logo and other elements being positioned on the “wrong” side of the page for one of the languages (Lionways is a good example of that). If, on the other hand, the image can be flipped, it’s much easier, as the Jerusalem Camerata site shows [see below] — the large violin image is mirrored on the English side of the site”.

href="http://waltzwithbashir.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/waltz.jpg" alt="Waltz in Shalom! Showcase Of Web Design In Israel"/> /> href="http://waltzwithbashir.com/">Waltz with Bashir

Another example of this issue is Twitter, which scrambles any right-to-left tweets to an almost ridiculous degree. But again, Israel’s creative minds come to the rescue with href="http://www.talker.co.il/">Talker, a Twitter API-based… well, Twitter, except in Hebrew and right-to-left. Compare a Twitter Talker href="http://www.talker.co.il/alonuziel">right-to-left account with a href="http://www.twitter.com/alonuziel">left-to-right account.

Q: How does Hebrew affect other aspects of Web design?

Zonshine: “First of all, a much smaller selection of safe fonts can be used for live text. Arial is probably the most common, followed by Times New Roman, Tahoma and Courier. That’s it, more or less. There aren’t any equivalents of Trebuchet, Georgia, Palatino or other fonts.

“Also, if the site has both Hebrew and English, choosing a font for titles and logos becomes much trickier, because you usually need to choose two separate fonts — for English and Hebrew — that work well together. The Hiddush logo is a good example of that. I spent hours searching until I found a close-enough English font (Anderson the Secret Service) that worked well with the Hebrew one (AgadaMF), and even then I had to clean it a little to match the other. A few font shops in Israel, such as FontBit, offer quality fonts that are designed to blend well in both Hebrew and English”.

href="http://hiddush.org/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/hiddush.jpg" alt="Hiddush in Shalom! Showcase Of Web Design In Israel"/>

“On top of all this, there are many technical problems with dealing with right-to-left texts in graphic elements, especially Flash components. Small and trivial things suddenly become an issue, such as the inability to control the location of punctuation marks, numbers and other symbols. Sometimes the only solution, as silly as it sounds, is simply to avoid certain characters, but this is impossible to control when dealing with dynamic content.“

Q: Do clients pay on time. And what is negotiating like?

Zonshine: “Negotiating is a part of Israel’s culture. People almost always ask for a discount. I almost always get paid on time”.

Uzi Shmilovici (co-CEO at href="http://netcraft.co.il/">Netcraft) adds: “A lot of the logos that are designed in Israel have English typography. So the question is, where should the logo appear on the site: the left side or the right side?”

Examining some of the biggest websites in Israel shows that this dilemma remains unsettled.

“The other issue”, Shmilovici continues, “is using English words and phrases (either quotes or special terms) in the middle of Hebrew sentences. They force users to change the direction of their reading, which affects the flow of the article and scanning”.

href="http://www.bigdesign.co.il/cs-Confederation%20House.htm"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/confed.jpg" alt="Confed in Shalom! Showcase Of Web Design In Israel"/> />Israeli web design: href="http://www.bigdesign.co.il/cs-Confederation%20House.htm">Confederation House by href="http://www.bigdesign.co.il">bigdesign

Typography

Typography is one of the most interesting crafts related to Hebrew websites and design. While traditional Hebrew fonts are great for creating an ancient or holy atmosphere, Web designers face a big challenge in finding or creating modern (or even futuristic) fonts from an alphabet that was invented for one thing: Torah books.

Typography fans might be interested in the “Torah Scribe,” written by a person who handwrites Torah books and who follows a strict set of rules and guidelines. The slightest mistake makes the book un-kosher, and he has to throw it away and start all over again (which is why Torah books cost so much).

href="http://soferstam.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/stam.jpg" alt="Stam in Shalom! Showcase Of Web Design In Israel"/>

Another trend in Hebrew typography is nostalgic fonts from the early days of the state (the British Mandate). A great example is the Palestina font created by Oded Ezer (see image below), which is an effort to fuse an ancient typeface to a modern design.

href="http://www.ezerdesign.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/palestina.jpg" alt="Palestina in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.ezerdesign.com/">Oded Ezer’s website is a great place to look for modern Israeli fonts and experiments in Hebrew typography. A leading Israeli typographic artist, Ezer also runs the blog href="http://odedezer.blogspot.com">Spare Type. If you are into typography (and who isn’t?), you must check out two works by Ezer in particular: href="http://www.ezerdesign.com/ketubah.html">Ketubah and href="http://www.ezerdesign.com/typosperma.html">Typosperma.

Any Israeli knows how hard it is to find beautiful fonts in Hebrew. Lucky we have Oded Ezer, a typographic artist, logo and type designer, lecturer and typographic experimentalist. His studio is located in Israel.

href="http://odedezer.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/ezer.jpg" alt="Ezer in Shalom! Showcase Of Web Design In Israel"/>

href="http://odedezer.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/ezer2.jpg" alt="Ezer2 in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.fontef.com/old/">Fontef, Israeli font designers.

href="http://www.fontef.com/old/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/fontef.jpg" alt="Fontef in Shalom! Showcase Of Web Design In Israel"/>

href="http://hagilda.com/">Ha’Gilda: Hebrew fonts

href="http://hagilda.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/gilda1.jpg" alt="Gilda1 in Shalom! Showcase Of Web Design In Israel"/>

href="http://hagilda.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/gilda2.jpg" alt="Gilda2 in Shalom! Showcase Of Web Design In Israel"/>

Interesting Solutions to Israeli Design Problems

href="http://www.yotamhadar.com/">Yotam Hadar redesigned href="http://www.nrg.co.il/">nrg.co.il, Israel’s second-most popular news source and seventh most popular website. The old version had too many boxes, low readability and nowhere to focus the eye, not to mention unconventional and hard-to-use navigation. Since its redesign, the website has continually gained popularity (and the statistics show much longer stays), yielding more income and a smaller team on which to rely for maintenance. (The website was completed while the designer was working at Maariv, in collaboration with NRG’s design team, under chief designer Amir Hadad.)

href="http://www.nrg.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/nrg.jpg" alt="Nrg in Shalom! Showcase Of Web Design In Israel"/>

Efficiency Is A Double-Edged Sword

In a 62-year-old country that is in a constant state of war, where every citizen has to join the army at the age of 18, efficiency (not to be mistaken for productivity or effectiveness) is almost sacred. It has been the most important quality in building this country, and it tends to be the most valued quality in any project. One could say, “It doesn’t matter if it’s good, as long is it works…” Sort of… Close enough. Thus usability, aesthetics and trends are ignored quite often, making the job of the designer secondary.

Another side effect of this harsh efficiency-driven attitude is the de-emphasis on a proper technological education. Because clients only demand that things “work,” standards, trends and aesthetics are the last thing on a developer’s mind. In turn, clients lack a real understanding of the media, which is why so many Israeli websites use Flash. The lack of variety of supported Hebrew Web fonts is also a factor. But fortunately SEO is creeping in and forcing even the most stubborn clients to ditch Flash for HTML and to replace images with live text as much as possible, which will hopefully push typography awareness to the next level.

href="http://www.hasushia.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/israeli-design-02.jpg" width="478" height="320" alt="Israeli-design-02 in Shalom! Showcase Of Web Design In Israel"/> /> href="http://www.hasushia.com/">ha’Sushia has an original navigation menu.

Adam Benayoun (CEO and co-founder of href="http://lionite.com/">Lionite), puts it very well: “It is a technology-oriented market. A lot of Israeli companies don’t focus on the front end, design, UI, experience, because we are all developing and selling technology to the US.”

Lea Aharonovitch (a senior product manager at Answers.com and a href="http://www.notes.co.il/lea/">UI/UX blogger) adds: “I would even go further to blame each and every one of us Israelis as consumers for not demanding higher standards from websites that prefer banner spots to design.”

“Just a quick look at some of the href="http://www.go2web20.net/#tag:israel">130 Israeli Web 2.0 companies demonstrates how much creative types and services are trying to solve problems and foster new exciting ways to do more on the Web… If we support designers and let them show us what they can really offer, we stand a chance that the next ‘Made in Israel’ design article will boast about how Israel has become the cutting edge of intuitive and excellent user-centered design.”

Lea is also a former manager of UPA Israel (Usability Professionals Association), which recently initiated a series of usability reviews published weekly on Israel’s biggest news website href="http://www.ynet.co.il">Ynet (the equivalent of CNN in terms of traffic and importance), inspecting a different Israeli website every week.

href="http://www.ourbudget.org.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/budg.jpg" alt="Budg in Shalom! Showcase Of Web Design In Israel"/> /> href="http://www.ourbudget.org.il/">Tel Aviv city budget

Q: What other setbacks against designers in Israel can you identify?

“Behind every Israeli designer stands a team of managers who just don’t get it,” says Aharonovitch. “Managers don’t think they can afford to offer simple, less monetized interfaces, so designers are required to add as many monetization elements as possible”.

Shmilovici: “Strong interactive companies lead clients to invest a lot of money in the media (where they have big commissions), and the result is usually less resources for UX and design (because the development part is a must anyway)”

Oded Ezer, whose work was featured earlier in this piece, give us a typographer’s point of view: “Conservativeness. Instead of relying on 3,000 years of documented culture and Jewish heritage, young designers are looking to modern European design for inspiration.”

href="http://vaza.co.il/project.asp?cat=Web&id=Dinamo-Dvash"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/pic2.jpg" width="384" height="275" alt="Pic2 in Shalom! Showcase Of Web Design In Israel"/>

href="http://vaza.co.il/project.asp?cat=Web&id=Dinamo-Dvash"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/pic1.jpg" width="384" height="275" alt="Pic1 in Shalom! Showcase Of Web Design In Israel"/> /> href="http://vaza.co.il/project.asp?cat=Web&id=Alfred_Gallery">Dinamo-Dvash

Local Influences

It’s worth mentioning that the second official language of Israel is Arabic, another right-to-left language with amazing appeal to typographers. But a whole other article would be required for that and for the question of why Israel has so few Arabic websites.

href="http://www.shatil.org.il/">Shatil

href="http://www.shatil.org.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/shatil.jpg" alt="Shatil in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.mossawacenter.org/">Mossawa Center

href="http://www.mossawacenter.org/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/mossawa.jpg" alt="Mossawa in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.koloudtof.com/">Koloudtof. This website is Hebrew but influenced by local cultures. Remarkably, about 50% of Israelis come from Arab countries.

href="http://www.koloudtof.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/koloudtof.jpg" alt="Koloudtof in Shalom! Showcase Of Web Design In Israel"/>

Let’s Turn To The Future

Web designers in Israel seem to have two choices: find work overseas, or deal with the conditions in Israel, which in most cases mean lower wages and having to dabble in print design and other unrelated design work. This is another reason why finding good examples of Israeli Web design is hard, because most of the work is done for European and American clients or, if done for domestic clients, just doesn’t compare to the quality of design overseas.

But as Israelis, we always look at the bright side and seek solutions. “Clients in Israel are just like clients all over the world,” says Adam Benayoun, putting as much of the blame on service providers. “We need to educate clients on the importance of design,” he says, advice that is as true of designers in Israel as it is anywhere else.

href="http://be-baboo.com/"> width="500" height="382" alt="103 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/103.jpg"/> /> href="http://be-baboo.com/">Baboo, a lighting boutique.

Lionite is a great example of Israeli creativity in business model and workflow. The Tel Aviv-based Web shop provides a complete solution for clients in Israel and overseas, combining development, design and even marketing. “Clients overseas prefer us because of our standards, not because of or despite of our being Israeli,” says CEO Adam Benayoun. “We believe you have to be good no matter where you are from, no excuses.”

Netcraft’s Uzi Shmilovici seems to agree with that philosophy: “Although Israel is not the cheapest place on earth, it is still cheaper than Europe and the US. That said, professionally, Israeli designers are definitely on par with European and American designers. Take those two facts together and you’ll understand why Israeli design gives you the best value for your money.”

Q: So, what do you think we have to offer the world in terms of style, influence, etc.?

Shmilovici: “I do think that some of our unique typography issues have led to some nice progress. Because the Israeli font inventory was weak, we had to come up with new fonts quickly. Some of those explorations, done by Oded Ezer for example, ended up in the MoMA.”

href="http://odedezer.com/typosperma.html"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/oded.jpg" alt="Oded in Shalom! Showcase Of Web Design In Israel"/> /> href="http://odedezer.com/typosperma.html">Oded Ezer

Aharonovitch: “Israel is considered one of most innovative nations in the world when it comes to technology. It’s hard to compete with our sense of creativity, our high level of adaptability and flexibility and our high skill level in problem-solving and other traits.

”While at times it may seem that we’re not organized or that our affairs are managed informally or that our processes are not well defined, these are our advantages when considering the Agile or Lean development method that has been gaining popularity recently. The last thing to mention is the emotional strength and maturity that many Israelis develop at an early age — mainly derived from growing up in as challenging an environment as the Middle East and serving in the army at the age of 18.”

Showcase of Israeli Web Design

href="http://www.deniszilber.com/">Denis Zilber

class="showcase"> href="http://www.deniszilber.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/deniszilber.jpg" alt="Deniszilber in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.schlaffstunde.com/">Schlafstunde

class="showcase"> href="http://www.schlaffstunde.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/sleepwalkers.jpg" width="465" height="456" alt="Sleepwalkers in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.racheltimor.com/">Rachel Timor

class="showcase"> href="http://www.racheltimor.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/timor.jpg" width="500" height="381" alt="Timor in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.eladtayar.com">Elad Tayer

class="showcase"> href="http://www.eladtayar.com"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/quack.jpg" width="500" height="426" alt="Quack in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.keoss-live.com/">Keoss Studios (warning: music is turned on automatically!)

class="showcase"> href="http://www.keoss-live.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/keoss.jpg" alt="Keoss in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.anz.co.il/">Anz.co.il

class="showcase"> href="http://www.anz.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/israeli-design-04.jpg" width="500" height="356" alt="Israeli-design-04 in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.arava-k.com/">Arava

class="showcase"> href="http://www.arava-k.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/arava.jpg" alt="Arava in Shalom! Showcase Of Web Design In Israel"/>

href="http://rubinmuseum.org.il/">Rubin Museum

class="showcase"> href="http://rubinmuseum.org.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/rubin.jpg" width="500" height="303" alt="Rubin in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.e-dologic.co.il/burger_ranch/2008/site/06/">E-Dologic.co.il

class="showcase"> href="http://www.e-dologic.co.il/burger_ranch/2008/site/06/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/graffiti.jpg" width="500" height="314" alt="Graffiti in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.hayehudim.com/">Hayehudim, an Israeli music band.

class="showcase"> href="http://www.hayehudim.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/grunge.jpg" width="500" height="437" alt="Grunge in Shalom! Showcase Of Web Design In Israel"/>

href="http://kid.org.il/">Kid.org.il

class="showcase"> href="http://kid.org.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/omg.jpg" width="500" height="378" alt="Omg in Shalom! Showcase Of Web Design In Israel"/>

href="http://alilot.co.il/">Moran in the big city

class="showcase"> href="http://alilot.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/alilot.jpg" alt="Alilot in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.nofganim.co.il/">Moran in the big city

class="showcase"> href="http://www.nofganim.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/nof.jpg" alt="Nof in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.segalwines.co.il/">Segal Wines

class="showcase"> href="http://www.segalwines.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/segal.jpg" alt="Segal in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.sibling.co.il/">Sibling

class="showcase"> href="http://www.sibling.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/sibling.jpg" alt="Sibling in Shalom! Showcase Of Web Design In Israel"/>

href="http://odedbabayoff.com/">Oded Babayoff

class="showcase"> href="http://odedbabayoff.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/nana.jpg" alt="Nana in Shalom! Showcase Of Web Design In Israel" width="500" height="353"/>

href="http://www.hablock.com/">“The Block”

class="showcase"> href="http://www.hablock.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/hablock.jpg" alt="Hablock in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.israelhayom.co.il/">Israel Today

class="showcase"> href="http://www.israelhayom.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/israeltoday.jpg" alt="Israeltoday in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.iestudio.co.il/">IE Studio

class="showcase"> href="http://www.iestudio.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/iestudio.jpg" alt="Iestudio in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.redseajazzeilat.com/">The Red Sea Jazz Festival Website

class="showcase"> href="http://www.maorshavit.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/jazz.jpg" alt="Jazz in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.zeronine.me/">Zero Nine

class="showcase"> href="http://www.zeronine.me/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/zeronine.jpg" alt="Zeronine in Shalom! Showcase Of Web Design In Israel"/>

href="http://studiogavriel.net/Web/Web-Intro.html">Studiogavriel’s work

class="showcase"> href="http://studiogavriel.net/Web/Web-Intro.html"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/israeli-design-05.jpg" width="500" height="501" alt="Israeli-design-05 in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.thekotel.org/">The Wall, Jerusalem.

class="showcase"> href="http://www.thekotel.org/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/kotel.jpg" alt="Kotel in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.sipholux.co.il">Sipholux.co.il

class="showcase"> href="http://www.sipholux.co.il"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/israeli-design-03.jpg" width="500" height="354" alt="Israeli-design-03 in Shalom! Showcase Of Web Design In Israel"/>

href="http://3bears.co.il/">3 Bears

class="showcase"> href="http://3bears.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/3bears.jpg" alt="3bears in Shalom! Showcase Of Web Design In Israel"/>

href="http://kitsh.co.il/">Kitsh

class="showcase"> href="http://kitsh.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/kitsh1.jpg" alt="Kitsh1 in Shalom! Showcase Of Web Design In Israel"/>

class="showcase"> href="http://kitsh.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/kitsh2.jpg" alt="Kitsh2 in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.quicheria.co.il/">Quicheria, one of the many Flash-based websites in Israel (via href="http://www.wix.com/">Wix.com)

class="showcase"> href="http://www.quicheria.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/blue.jpg" width="500" height="333" alt="Blue in Shalom! Showcase Of Web Design In Israel"/>

href="http://terrypoison.com/">Terry Poison, electro-rock and roll band.

class="showcase"> href="http://terrypoison.com/"> width="500" height="383" alt="101 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/101.jpg"/>

href="http://www.dudihasson.com/">Duddi Hasson, Fashion photographer.

class="showcase"> href="http://www.dudihasson.com/"> width="500" height="382" alt="105 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/105.jpg"/>

href="http://www.halas.am/">halas.am, Holon Art Lab Audio Service

class="showcase"> href="http://www.halas.am/"> width="500" height="383" alt="107 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/107.jpg"/>

href="http://www.shanibar.com/">shani bar, Fashion designer.

class="showcase"> href="http://www.shanibar.com/"> width="500" height="384" alt="112 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/112.jpg"/>

href="http://www.wuwa.org/">while you were away, Ben Ben-Horin.

class="showcase"> href="http://www.wuwa.org/"> width="500" height="383" alt="113 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/113.jpg"/>

href="http://www.supersize.co.il/">hello supersize, Matty Marianski (Supersize), Motion graphics and interaction design.

class="showcase"> href="http://www.supersize.co.il/"> width="500" height="499" alt="114 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/114.jpg"/>

href="http://www.jcamerata.com/">The Jerusalem Camerata

class="showcase"> href="http://www.jcamerata.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/camerata.jpg" alt="Camerata in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.chansonim.com/he/emmanuel/">The Red Sea Jazz Festival Website

class="showcase"> href="http://www.chansonim.com/he/emmanuel/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/chanson.jpg" alt="Chanson in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.hydros.co.il/">Hydros

class="showcase"> href="http://www.hydros.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/hydros.jpg" alt="Hydros in Shalom! Showcase Of Web Design In Israel"/>

Israeli Designer Showcase

Those who are able to rise above the circumstances end up turning out top-notch websites. Some such stars are featured here.

href="http://www.shual.com/">Shual (meaning “Fox” in Hebrew) is a two-person team that churns out modern Web-standard websites. Its own portfolio is startlingly green. Aside from this neon-green page complete with fox howl, the team turns out such beautiful websites as the following:

class="showcase"> href="http://www.shual.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/shual.jpg" alt="Shual in Shalom! Showcase Of Web Design In Israel"/>

href="http://galiaoffri.com/">Galia Offri

class="showcase"> href="http://galiaoffri.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/galia.jpg" alt="Galia in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.shual.com/artfocusorgil/">Art Focus

class="showcase"> href="http://www.shual.com/artfocusorgil/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/artfocus.jpg" alt="Artfocus in Shalom! Showcase Of Web Design In Israel"/>

href="http://netcraft.co.il/">Netcraft does it right and sets a good standard. It is one of the leading agencies in Israel.

class="showcase"> href="http://netcraft.co.il/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/netcraft.jpg" alt="Netcraft in Shalom! Showcase Of Web Design In Israel"/>

It designed this well-known e-commerce website:

class="showcase"> href="http://www.callperfume.co.il"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/perfume.jpg" alt="Perfume in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.lionite.com/">Lionite is an Israeli agency with a href="http://lionite.com/waytowork">unique approach to business.

class="showcase"> href="http://www.lionite.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/lionite.jpg" alt="Lionite in Shalom! Showcase Of Web Design In Israel"/>

It also created href="http://octabox.com/">Octabox

class="showcase"> href="http://octabox.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/octabox.jpg" alt="Octabox in Shalom! Showcase Of Web Design In Israel"/>

… and href="http://www.cubicl.com/">Cubicl.

class="showcase"> href="http://www.cubicl.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/cubicl.jpg" alt="Cubicl in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.itamarlerner.com">Itamar Lerner is an Israeli-born graphic designer. He started working as a designer at 2002. In the following three years, he was employed by several design studios around Tel Aviv.

class="showcase"> href="http://www.itamarlerner.com"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/itamar.jpg" alt="Itamar in Shalom! Showcase Of Web Design In Israel"/>

href="http://adamtal.com/">Adam Tal (a collaborator on this article) and the design agency href="http://internetlife.co.il">Internetlife created the Gottagettofwa.com website.

class="showcase"> href="http://gottagettofowa.com"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/gottgettofowa.jpg" alt="Gottgettofowa in Shalom! Showcase Of Web Design In Israel"/>

href="http://dainareed.com/">Daina Reed is a freelance Web designer in Tel Aviv.

class="showcase"> href="http://dainareed.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/daina.jpg" alt="Daina in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.inbalpinto.com/">Inbal Pinto and Avshalom Pollak Dance Company created this beautiful, simple and artistic Flash website, which may be impractical for most in the real world.

class="showcase"> href="http://www.inbalpinto.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/inbal.jpg" alt="Inbal in Shalom! Showcase Of Web Design In Israel"/>

href="http://inkod-hypera.com">Inkod Hypera

class="showcase"> href="http://inkod-hypera.com"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/inkod.jpg" alt="Inkod in Shalom! Showcase Of Web Design In Israel"/>

href="http://nucampaign.org">nucampaign offers great insight into the real Israel (as opposed to the Israel you know from the news).

class="showcase"> href="http://nucampaign.org"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/nucampaign.jpg" alt="Nucampaign in Shalom! Showcase Of Web Design In Israel"/>

Illustrators

href="http://liron.de">Liron Tocker is a talented Israeli illustrator and icon designer who lives in Germany.

class="showcase"> href="http://www.liron.de"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/lironmilk.jpg" alt="Lironmilk in Shalom! Showcase Of Web Design In Israel"/>

class="showcase"> href="http://www.liron.de"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/liron.jpg" alt="Liron in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.mikimottes.com/">Mikimottes is commendable for his sketching of everyday Israeli scenery.

class="showcase"> href="http://www.mikimottes.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/miki.jpg" alt="Miki in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.asafhanuka.com/">Asaf Hanuka worked on the art for the award-winning animated documentary feature film by director Ari Folman.

class="showcase"> href="http://www.asafhanuka.com/"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/hanuka1.jpg" alt="Hanuka1 in Shalom! Showcase Of Web Design In Israel"/>

href="http://www.hoop.co.il/english/">hoop: this is just about the end of our journey. If you wish to absorb more Israeli design, you should visit hoop.

class="showcase"> href="http://www.hoop.co.il/english/"> width="500" height="454" alt="120 in Shalom! Showcase Of Web Design In Israel" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/web-design-in-israel/120.jpg"/>

Related Posts

You may be interested in the following related posts:

About the Authors

href="http://dainareed.com/">Daina Reed is a freelance Web designer and Web project manager in Tel Aviv.

href="http://adamtal.com/">Adam Tal is a Web entrepreneur who believes that code is poetry and design is music. Follow him on Twitter href="http://twitter.com/adamtal">@adamtal, or check out his href="http://adamtal.com/">website.

Sara Eisen is a freelance writer, editor, journalist and “marcom” and Web content consultant. She blogs at href="http://the-word-well.com/">http://the-word-well.com.

Also, this article wouldn’t have been possible without the contributions of href="http://twitter.com/joeysim">Joey Simhon and href="http://twitter.com/lioryair">Lior Yair of href="http://www.netcraft.co.il/en">Netcraft, a digital agency in Tel Aviv that specializes in user experience and Web technologies. Special thanks to href="http://twitter.com/Avinio">Avi Joseph, CEO of SmediaC for helping with the research for this article.

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© Smashing Editorial for href="http://www.smashingmagazine.com">Smashing Magazine, 2010. | href="http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/">Permalink | href="http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/#comments">49 comments | title="Bookmark in del.icio.us" href="http://del.icio.us/post?url=http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/&title=Shalom!%20Showcase%20Of%20Web%20Design%20In%20Israel">Add to del.icio.us | title="Bookmark in Digg" href="http://digg.com/submit?phase=2&url=http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/">Digg this | title="Stumble on StumbleUpon" href="http://www.stumbleupon.com/submit?url=http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/">Stumble on StumbleUpon! | title="Tweet us!" href="http://twitter.com/home?status=@tweetmeme%20@smashingmag%20Reading%20'Shalom!%20Showcase%20Of%20Web%20Design%20In%20Israel'%20http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/">Tweet it! | title="Bookmark in Reddit" href="http://reddit.com/submit?url=http://www.smashingmagazine.com/2010/02/23/shalom-showcase-of-web-design-in-israel/">Submit to Reddit | href="http://forum.smashingmagazine.com/">Forum Smashing Magazine
Post tags: href="http://www.smashingmagazine.com/tag/israel/">israel, href="http://www.smashingmagazine.com/tag/showcases/">showcases

One Week Left to Enter the CodeCanyon Scripting Competition

February 22, 2010 in Design by 8ify.com - Design

On February 1st, we announced an enormous scripting competition on CodeCanyon with prizes equaling $6200. You now have just one week left to enter!

For those unfamiliar, Envato recently launched its newest marketplace, focused specifically on selling high-quality scripts and components for PHP, JavaScript, ASP.NET, and Java. As we’ve only recently launched, we’re hoping to build up our repository with a plethora of fantastic scripts and components, across all of the categories.

How Do I Enter?

Quite simply! To enter, prepare an item (PHP, JS, ASP.NET, or Java) of your choice for CodeCanyon, and once it has been submitted and accepted on the site, leave a comment here with a link to your item. That way, we can track it! That’s all! Then, on March 1st, 2010 (CST), my review staff and I will filter through all of the submissions and choose the best three of the bunch!

Grand Prize Winner

  1. 1 Dedicated Virtual Box (Rage) from Media Temple ($1200 value)
  2. 1 32 gigabyte iPod Touch ($299 value) (Ultimate TechSmith Package)
  3. 1 copy of Camtasia Studio for Mac or PC ($299 value) (Ultimate TechSmith Package)
  4. 1 copy of Camtasia Studio 6: The Definitive Guide ($39.95 value) (Ultimate TechSmith Package)
  5. 1 Logitech QuickCam Communicate Deluxe PC Webcam ($99 value) (Ultimate TechSmith Package)
  6. 1 Audio Technica USB Studio Condenser Microphone ($149 value) (Ultimate TechSmith Package)
  7. $100 Envato credit (Can be used across all of the marketplaces)
  8. $200 cash
  9. 1 MediaTemple Gift Card – 1 year of hosting, 1 domain name, Up to 5 websites. ($95 value)
  10. $25 Amazon Gift Card
  11. 1 year Tuts Plus membership – ($78 value)
  12. 1 Wufoo Subscription – 1 year ($288 value)
  13. 1 Formspring Pro Subscription – 1 year ($348 value)
  14. 1 Surreal CMS Subscription – 1 year ($275 value)
  15. 1 Personal TypeKit subscription – 1 year ($300 value)
  16. 1 Myows Paid AccountFREE for life
  17. 1 Rockable Press Book of your Choice ($29 value)
  18. 1 copy of Snippet (mac app) ($13 value)
  19. 1 copy of jQuery UI 1.7 from Packt Publishing ($40.49 value)
  20. 1 copy of Magento Beginner’s Guide from Packt Publishing ($35.99 value)
  21. 1 copy of Object-Oriented JavaScript from Packt Publishing ($35.99 value)
  22. 1 copy of jQuery Cookbook from O’Reilly Publishing ($34.99 value)
  23. 1 Threadsy Invite
  24. You will be featured on the front page of CodeCanyon as both the featured author and the featured item of the week!
  25. Your item will be included in a collection of the three winning submissions, and will be promoted on the front page of CodeCanyon
  26. As an Envato marketplace author, you’ll earn 40-70% of every sale!

2 Runners-Up

  1. 1 year Tuts Plus membership – ($78 value)
  2. $50 Envato credit
  3. 1 Personal TypeKit subscription – 1 year ($300 value)
  4. 1 Surreal CMS Subscription – 1 year ($275 value)
  5. 1 Wufoo Subscription – 1 year ($288 value)
  6. 1 Myows Paid AccountFREE for life
  7. 1 Rockable Press Book of your Choice ($29 value)
  8. 1 copy of Snippet (mac app) ($13 value)
  9. 1 Threadsy Invite
  10. Your item will be included in a collection of the three winning submissions, and will be promoted on the front page of CodeCanyon
  11. As an Envato marketplace author, you’ll earn 40-70% of every sale!

What Kind of Item Should I Submit?

We’ll that’s entirely up to you! That’s where you get to be creative. With that said, you’ll want to think of an item that will appeal to a wide variety of buyers. Ask yourself, “what sort of script or component – that’s not widely available around the web for free – have I often found myself in need of? Remember that, at this time, we’re only accepting PHP, JavaScript, ASP.NET, and Java related items.

Refer here to view the best selling items on CodeCanyon.

FAQs

When is the deadline to enter?

The competition will officially end on February 28th, 2010 at 11:59 PM, Central Standard Time. However, we do hope that you’ll submit before that date.

Are all items accepted on CodeCanyon?

No. You’ll first go through a review process, similar to all of our other marketplaces. It’s possible that your item will be rejected, in which case, it won’t be considered.

How Will you Judge?

We’ll consider many factors when determining the winners: overall sales, innovation, how much it appeals to a wide variety of buyers, etc.

Who Will be Judging?

The CodeCanyon review staff will collaborate to determine the winners.

Terms and Conditions

  • Envato staff and reviewers are not eligible to compete
  • Only items uploaded between 12:01 AM 02/01/2010 and 11:59PM 2/28/2010 CST and subsequently approved for sale on CodeCanyon are eligible to count.
  • The same author cannot win more than once. In other words there will be three winners, no less.
  • Our decision is final.
  • Files that are taken down for any reason are not eligible to be counted.
  • Files must stay up on CodeCanyon for at least 6 months.
  • Items may not be substituted for their cash equivalent.
  • Prizes will be awarded during the first week of March, to give time to ensure no copyright infringement has occurred.

So get coding! There are five-thousand reasons to do so! We can’t wait to see what you come up with.

Server Issues

February 22, 2010 in Design by 8ify.com - Design

Over the weekend and into Monday we unfortunately experienced some pretty severe downtime on all Envato WordPress blogs. The downtime was due to problems in the data centre of our current hosting company. The problems occurred because of some faulty hardware which had a lot of run-on effects.

It seems to all be resolved now, but I just wanted to make a quick apology for the inconvenience and interruptions. We’re going to be re-examining our hosting setup to make sure we avoid this situation in the future and to generally try to pull up the quality of service across the board.

In the meantime there may be some further minor interruptions as we shore up the setup. Thank you for your patience!

CSS Fundamentals: CSS 3 Transitions

February 22, 2010 in Design by 8ify.com - Design

As CSS3 rolls out around the web, it is bringing some interesting new presentational techniques along with it. Today, we’ll review the basics of using CSS3 transitions and animations to add an extra layer of polish.


Tutorial Details

  • Program: A web browser that can utilise CSS3 transistions (Chrome or Safari)
  • Language: CSS
  • Difficulty: Easy
  • Estimated Completion Time: 30 min

Prefer a Video Tutorial? Join Plus!

If you’re more of a visual learner, you can watch a video version of this article instead. Simply help give back to Nettuts+ by signing up for a Plus membership, which grants you access to the Plus content for ALL of our sites – all for $9 per month.

Already a Member?

Watch the video version of this tutorial.

Step 1 – Link Transitions

To begin, we’ll work with some basic techniques – firstly a simple change of text color when a user hovers over a specified element.

a { color:#000; }
a:hover { color:#f00; }

Here, we change the text color to red on hover. Now, with a little CSS3, we can create a much smoother look by gradually fading the color.

a{ color:#000; -webkit-transition:color 1s ease-in;
}
a:hover{color:#f00;}

We’ve added the css property, -webkit-transition. Note that the -webkit prefix specifies that this will only work in Webkit engines, or Safari and Chrome. Luckily, other modern browsers have their own implementations as well. A full statement covering all browsers might look similar to the following:

a { color:#000; -webkit-transition:color 1s ease-in; -moz-transition:color 1s ease-in; -o-transition:color 1s ease-in; transition:color 1s ease-in;
}

Please note that, for this tutorial, we’ll be focusing exclusively on the webkit implementation. After the declaration of the property, we have the values “color 1s ease-in.” This is the shorthand declaration; the three values represent:

  1. the property to be transitioned
  2. the duration of the transition
  3. the type of transition

In this case, we transition using ease-in, which will begin the transition slowly, and speed up into the transition.

Step 2. Background Transitions

Another basic use of changing states is to change the background of an input box on focus.

input.ourInputBox:focus{ -webkit-transition:background-color 0.5s linear; background:#CCC;
}

This time, we put the transition declaration into the hover state, so that we aren’t adding additional unnecessary classes to the CSS. We apply the transition once the input box acquires focus.

Step 3 – Transitioning Multiple Properties

CSS transitions are actually relatively straight forward to add to existing hover functionality, and give your
site that extra polish for browsers that support CSS3.

To take things a step further, we can also transition multiple CSS properties using the longhand versions of the CSS3 transition.

a.thebg { color:#000; background:#f00; padding:5px; -webkit-border-radius: 5px; -webkit-transition-property:color, background; -webkit-transition-duration: 1s, 1s; -webkit-transition-timing-function: linear, ease-in;
} a.thebg:hover { color:#f00; background:#000;
}

This time, the background and text color changes on hover, so we can target both of these properties with our transition.
We simply split the transition: first we have -webkit-transition-property and separate the different values with a comma. So we target the color and background properties, respectively.

-webkit-transition-property:color, background;

Then we set the duration of the transition using:

-webkit-transition-duration:1s, 1s;

These are referenced in the same order as the first statement; this time, however, both values are set to 1s.

Lastly, we set the timing function, and set two different values: the first, linear, relates to our first declared variable – color; and the second relates to the variable background.

So, we’ve set the color to a linear change over one second, and the background to ease-in over that same time period.

Step 4 – Putting the Pieces Together

CSS3 transitions start to come into their own when they’re combined with other new CSS properties.

You can review examples of using overlapping elements and transitions on Andy Clarke’s For a Beautiful Web.

Let’s create a simple example of animating a pop out sign.

We first create the bounding box for the signpost, and give it a relative positioning context to ensure that we can
position items absolutely within it.

#signpost{ width:60px; height:196px; position:relative;
}

Now we place the box on the page and put the pieces of our sign within it.

<div id="signpost"> <img id="post" src="post.png"> <img id="sign" src="sign.png">
</div>

Next, the post is positioned with a z-index of two, to place it on top of the sign.

#post{ width:79px; height:196px; z-index:2; position:relative;
}

Now, we add in the sign, positioned underneath the post, and rotate it with the CSS3 transform property.

#sign{ height:46px; width:80px; position:absolute; top:10; left:60; -webkit-transform-origin:0 0; -webkit-transform: rotate(86deg); z-index:1; -webkit-transition:-webkit-transform 0.5s ease-in-out;
}

The sign is rotated using -webkit-transform: rotate(86deg), and is positioned under the post. To ensure that the sign rotates around the proper point, we must change the transform origin to the top left corner: 0, 0.

We set the transition to change the -webkit-transform property over 0.5s with an ease-in-out profile, and on hover, we rotate the sign back to its original orientation.

#signpost:hover #sign{ -webkit-transform:rotate(0deg);
}

We do this on the containing #signpost:hover rather than on the hover of the #sign itself.

Step 5 – Introducing Animations

We can now tie all of this together, using webkit animations, which give us the power to carry out things such as continuous rotation.

We begin by creating two circle images, and positioning them inside a containing div – as we did with the signpost above.

<div id="circles"> <img src="outer.png" width="180" height="180" class="outercircle"/> <img src="middle.png" width="90" height="90" class="middlecircle"/>
</div>
#circles{ width:180px; height:180px; position:relative;
}
.outercircle{ width:180px; height:180px; position:absolute; z-index:1; top:0: left:0;
}
.middlecircle{ width:90px; height:90px; position:absolute; z-index:3; top:45px; left:45px;
}

Now we need to define the animations; we’ll spin the circles in opposite directions, so we need to set up two animations.

@-webkit-keyframes spin {
from { -webkit-transform: rotate(0deg);
}
to { -webkit-transform: rotate(360deg); }
} @-webkit-keyframes spinrev {
from { -webkit-transform: rotate(0deg); }
to { -webkit-transform: rotate(-360deg); }
}

The animation is given a name for reference, in this case “spin” and “spinrev.” Then, we assign them a to and from value; so we rotate the image from
0 deg to 360 deg using webkit transform, and to -360 for the reverse.

Now we assign this animation to the hover states. Note that, if we assigned it to the normal state, the animation would run immediately when the page is loaded.

#circles:hover .outercircle { -webkit-animation-name: spin; -webkit-animation-iteration-count: infinite; -webkit-animation-timing-function: linear; -webkit-animation-duration: 10s;
} #circles:hover .middlecircle{ -webkit-animation-name: spinrev; -webkit-animation-iteration-count: infinite; -webkit-animation-timing-function: linear; -webkit-animation-duration: 5s;
}

We reference the animation name we created earlier (-webkit-animation-name: spin;). Then, we declare the number of times we want the animation to run (-webkit-animation-iteration-count: infinite;).
In this case, infinite will keep it going round and round whilst the #circles div is hovered upon.

We next set the timing function (-webkit-animation-timing-function: linear;), and, finally, we set a duration for each iteration – in this case, it will be ten seconds (-webkit-animation-duration: 10s;), and five for a complete revolution.

Step 6 – Graceful Degredation with Modenizr

Once we have everything working, we should consider our users who are browsing without CSS3 capable web browsers. This is easily accomplished using a JavaScript library such as Modernizr, which adds classes to the HTML element relating to the browser capabilities.

Using the sign post example above, browsers that don’t support CSS transforms will not place the sign under the post correctly; so we can target these browsers and simply hide the sign until it is hovered over.

.no-csstransforms #signpost #sign{ display:none;
}
.no-csstransforms #signpost:hover #sign{ display:block;
}

It’s as simple as linking to the Modernizr script, finding the appropriate class name, and then creating a separate CSS statement for that instance.

Conclusion

That’s all for now. I hope you enjoyed it! Let me know if you have any questions/comments below!

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The Seven Deadly Sins Of JavaScript Implementation

February 22, 2010 in Design by Brandon Corbin

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Using JavaScript has become increasingly easy over the last few years. Whereas back in the day we needed to know the quirks of every browser, now many libraries such as jQuery, YUI, Dojo and MooTools allow someone who doesn’t even know JavaScript to spruce up boring HTML documents with impressive and shiny effects. By piggy-backing on the CSS selector engine, we have moved away from the complexity and inconsistencies of the DOM and made things much easier.

If you look at some of the code that has been released, though, we do seem to have taken a step backwards. In gaining easier access, we also became a bit sloppy with our code. Finding clearly structured, easy-to-maintain jQuery code is quite tough, which is why many plug-ins do the same thing. Writing one yourself is faster than trying to fathom what other developers have done.

The rules for solid, maintainable and secure JavaScript haven’t changed, though. So, let’s run through the seven sins of JavaScript development that will bite you in the backside when you have to maintain the code later on or hand it over to another party.

We’ve all had to work with code written by other people. We have despaired over the lack of maintainability and documentation as well as weird logic. Funny enough, as developers, we started to see this as normal and got used to ignoring other people’s work and instead writing new code for the same problems over and over, as if we were subconsciously trying to secure our jobs by leaving behind unmaintainable code—code that only we understood, while complaining that no good solutions were out there.

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Sins Of Our Fathers: Browser-Specific Code

One of the main obstacles that kept us from evolving as developers was that JavaScript was largely browser-specific.

This was mainly because browsers did not support the standards (or were shipped before the governing bodies agreed on standards at all), and because we had to deliver our work before the competition and without extending the overly optimistic deadline set by our project managers.

This happens to be one reason why Internet Explorer 6 refuses to die. Hundreds of expensive software packages that are being used in offices worldwide were built when this browser was state of the art. This—and the monoculture that advocated using one software vendor for everything from the operating system to documents to spreadsheets to the browser—is the reason why companies now can’t simply discontinue support for it. It also means that newer versions of IE will always have to support the rendering mistakes of IE6 in one way or another. IE6 is the Frankenstein of the Internet, haunting its creators, terribly misunderstood by the townsfolk, who would sooner kill it, burn it and dance around it than make any sense of it.

The good news is that you won’t find many scripts these days that begin with if(document.all){} and continue with else if(document.layers){}. If you do find one, please send its creator a brief email encouraging them to move on or, better yet, to redirect their website to a better script that is actually being maintained.

Libraries to the Rescue

The job of JavaScript libraries such as jQuery, YUI, MooTools, Dojo and Glow is to make JavaScript development predictable and to relieve developers of the living hell that we call browser support. In other words, they fix random bugs in browsers and free us to adopt standards without worrying that certain browsers won’t recognize them.

For example, the DOM method getElementById(id) should be straightforward: find the element with the ID id and return it. But because some versions of IE and Opera also return elements that have the name attribute of id, href="http://github.com/jquery/jquery/blob/master/src/core.js">jQuery solves the problem this way:

var elem; elem = document.getElementById( match[2] ); if ( elem ) {
// Handle the case where IE and Opera return items
// by name instead of ID
if ( elem.id !== match[2] ) {
return rootjQuery.find( selector );
} // Otherwise, we inject the element directly into the jQuery object
this.length = 1;
this[0] = elem;
}

This is where libraries are awfully useful and is why JavaScript libraries are here to stay. Browsers will always do things wrong, and old browsers will not be upgraded by end users, either because of the aforementioned company regulations or because people simply don’t care to keep up with the times.

So, while the practice of building software for certain browsers is on the decline (at least for JavaScript—with CSS, we have a whole other headache ahead of us), we still have to be mindful of certain sins.

Sin #1: Not Playing Nice With Other Scripts

Here’s the first one, which we still see a lot of on the Web. Sadly, it is very common in demo code for APIs and Web services: global variables, functions and DOM-1 event handlers.

What do I mean by these? Consider the following:

  • Every script in the HTML document has the same rights as the others and can, if need be, overwrite what other scripts have done before.
  • If you define a variable or function name, and some other include uses the same name, the initial one will be overwritten.
  • The same applies to event handlers if you attach them the old-school onEvent way.

Say you have the script script_one.js:

x = 5;
function init(){ alert('script one init'); document.getElementsByTagName('h1')[0].onclick = function(){ this.style.background = 'blue'; }
}
alert('x is '+x);
window.onload = init;

And immediately after this one, you include another script, script_two.js:

 x = 10; function init(){ alert('script two init'); document.getElementsByTagName('h1')[0].onclick = function(){ this.style.color = 'white'; } } alert('x is '+x); window.onload = init;

If you href="http://icant.co.uk/articles/sins/sins_globals.html">open this document in a browser, you will find that x turns from 5 to 10 and that the first init() is never called. The script two init alert() does not come up, nor does the h1 get a blue background when you click it. Only the text turns to white, which renders it invisible.

The solution is not to use onEvent handlers, but rather the proper DOM level 2 event handlers (they don’t work in IE, but let’s not worry about that at the moment—remember, this is what libraries are for). Furthermore, wrap your functions in another with a more unique name to prevent them from overriding each other.

var scriptOne = function(){ var x = 5; function init(){ alert('script one init'); document.getElementsByTagName('h1')[0].addEventListener( 'click', function(e){ var t = e.target; t.style.background = 'blue'; }, false ); } alert('x inside is '+x); return {init:init};
}();
window.addEventListener('load',scriptOne.init,false);
alert('x outside is '+x); var scriptTwo = function(){ var x = 10; function init(){ alert('script two init'); document.getElementsByTagName('h1')[0].addEventListener( 'click', function(e){ var t = e.target; t.style.color = 'white'; }, false ); } alert('x inside is '+x); return {init:init};
}();
window.addEventListener('load',scriptTwo.init,false);
alert('x outside is '+x);

If you href="http://icant.co.uk/articles/sins/sins_globals_fixed.html">run this in a browser (not Internet Explorer 6), everything will come up as you expect: x is first 5, then 10 on the inside, and the heading turns blue and white when you click it. Both init() functions are called, too.

You also get an error. Because x is not defined outside the functions, the alert('x outside is '+x); never works.

The reason is that by moving the x into the scriptOne and scriptTwo functions and adding the var keyword in front of them, we have made them a part of those functions but hid them from the outside world. This is called a closure and is href="https://developer.mozilla.org/en/Core_JavaScript_1.5_Guide/Working_with_Closures">explained in detail here. It is probably the most powerful feature of JavaScript.

Using closures and var keywords, you won’t have the problem of variables with similar names overriding each other. This also applies in jQuery: you should href="http://jquery-howto.blogspot.com/2009/01/namespace-your-javascript-function-and.html">namespace your functions.

This can be tough to grasp, so let’s look at a simpler example:

var x = 4;
var f = 3;
var me = 'Chris';
function init(){}
function load(){}

All of these are global variables and functions now. Any other script having the same variables will override these.

You can nest them in an object to avoid this:

var longerAndMoreDistinct = { x : 4, f : 3, me : 'Chris', init : function(){}, load : function(){}
}

That way, only the longerAndMoreDistinct is global. If you want to run this function, you now have to call longerAndMoreDistinct.init() instead of init(). You can reach me as longerAndMoreDistinct.me and so on.

I don’t like this because I have to switch from one notation to another. So, we can do the following:

var longerAndMoreDistinct = function(){ var x = 4; var f = 3; var me = 'Chris'; function init(){} function load(){}
}();

You define longerAndMoreDistinct as the outcome of a function without a name that gets immediately executed (this is the () on the last line). This now means that all of the variables and functions inside exist only in this world and cannot be accessed from outside at all. If you want to make them accessible from outside, you need to return them to the outside world:

var longerAndMoreDistinct = function(){ var x = 4; var f = 3; var me = 'Chris'; function load(){} return { init:function(){} }
}();

Now init() is available as longerAndMoreDistinct.init() again. This construct of wrapping things in an anonymous function and returning some of them is called the href="http://www.wait-till-i.com/2007/07/24/show-love-to-the-module-pattern/">Module pattern, and it keeps your variables safe. Personally, I still hate the shift in syntax, so I came up with the href="http://www.wait-till-i.com/2007/08/22/again-with-the-module-pattern-reveal-something-to-the-world/">revealing module pattern. Instead of returning the real function, all I do is return a pointer to it:

var longerAndMoreDistinct = function(){ var x = 4; var f = 3; var me = 'Chris'; function load(){} function init(){} return { init:init }
}();

This way, I can make things either available or not available simply by adding to the object that is returned.

If you don’t need to give anything to the world and just want to run some code and keep all of your variables and function names safe, you can dispense with the name of the function:

(function(){ var x = 4; var f = 3; var me = 'Chris'; function load(){} function init(){}
})();

Using var and wrapping code in this construct makes it inaccessible to the outside world, but still makes it execute.

You may find this to be complex stuff, but there is a good way to check your code. href="http://www.jslint.com/">JSLint is a validator for JavaScript, much like the HTML or CSS validators, and it tells you all the things that might be wrong with your code.

Sin #2: Believing Instead Of Testing

The next big sin related to implementing JavaScript is expecting everything to go right: every parameter being in the right format, every HTML element you try to enhance being truly available, and every end user entering information in the right format. This will never be the case, and that last assumption is an especially bad one because it allows malicious users to inject dangerous code.

When you write JavaScript and give it to the world or integrate it in a product that will be maintained by a third party, a little paranoia is a good thing.

typeof is your friend. Regular expressions are your friend. indexOf(), split and length are your friends. In other words, do everything you can to make sure that incoming data is the right format.

You will get a lot of errors with native JavaScript; if you do anything wrong, you’ll know what happened. The annoying thing about most JavaScript libraries is that when they fail to execute some functionality, they do it silently. The maintainer is left guessing and has to run through all the code and start debugging with stop points (or—shudder!—alerts()) to reverse-engineer where you entered instable code. To avoid this, simply wrap whatever you can in a test case rather than try to access it.

Sin #3: Using The Wrong Technology For The Job

The biggest problem with JavaScript happens when you use the wrong tool for the job. It makes maintenance a nightmare and deteriorates the code’s quality. Use tools for the jobs they were meant for. This means:

  • Absolutely essential content and mark-up should be in HTML, regardless of the environment it will be displayed in.
  • Any “look and feel” elements should be maintainable through CSS. You should not have to scour through JavaScript to change a color.
  • Any interaction with the user that goes beyond hover effects (which, by definition, are an invitation to interact and not the interaction itself—because they are inaccessible to keyboard users) should be done with JavaScript.

The main reason why this is still a valid, pragmatic and sensible approach to development is that as Web technologies get muddled (for example, you can create content with CSS and JavaScript, animate and transform in CSS and—if you really want—paint with HTML), people’s skills and interests in these different technologies vary quite a bit.

Semantic mark-up buffs are not much interested in applying closures in JavaScript. JavaScript developers are not much interested in the order of elements in CSS. And CSS fans aren’t keen to learn how to make a JavaScript animation run flicker-free.

This results in the same problems being solved over and over again, only with different technologies. This is a market-wide problem: a lot of state-of-the-art Canvas tricks were done in Flash years ago, their impact debated and their problems fixed.

My favorite instance of this is when people write loops to hide a lot of elements on the page to make them available later on.

Say this is your HTML:

<h2>Section 1</h2>
<div class="section"> <p>Section 1 content</p>
</div> <h2>Section 2</h2>
<div class="section"> <p>Section 2 content</p>
</div> <h2>Section 3</h2>
<div class="section"> <p>Section 3 content</p>
</div> <h2>Section 4</h2>
<div class="section"> <p>Section 4 content</p>
</div>

The href="http://icant.co.uk/articles/sins/sins_sectiondemo.html">normal jQuery solution for this would be:

$(document).ready(function(){ $('.section').hide(); $('h2').click(function(e){ $(this).next().toggle(); })
});

And then you realize that href="http://icant.co.uk/articles/sins/sins_section_with_current.html">making the style of the current section deviate from that of the other sections would be great.

$(document).ready(function(){ $('.section').hide(); $('h2').click(function(e){ $(this).next().toggle(); $(this).next().css('background','#ccc'); $(this).next().css('border','1px solid #999'); $(this).next().css('padding','5px'); })
});

A few things are wrong with this. For starters, you’ve made it hard to maintain this by controlling the look and feel in JavaScript, not CSS (more on this later). Secondly, performance: while jQuery is amazingly speedy, a lot of code is still hidden under the hood in $('.section').hide(). The last, and very painful, performance issue is the copied and pasted lines that set the CSS. Don’t ask jQuery to find the next sibling four times and do something to it. You could store the next() in a variable, but even that is not needed if you chain. If you really need to set a lot of CSS in jQuery, use a map:

$(document).ready(function(){ $('.section').hide(); $('h2').click(function(e){ $(this).next().toggle().css({ 'background':'#ffc', 'border':'1px solid #999', 'padding':'5px' }); })
});

What if you then want to href="http://icant.co.uk/articles/sins/sins_section_single_open.html">allow only one of them to be open at any time? Inexperienced developers would do something like this:

$(document).ready(function(){ $('.section').hide(); $('h2').click(function(e){ $('.section').hide(); $(this).next().toggle().css({ 'background':'#ffc', 'border':'1px solid #999', 'padding':'5px' }); })
});

This does the job, but you’re looping around the document and accessing the DOM a lot, which is slow. You can alleviate this by keeping the current open section in a variable:

$(document).ready(function(){ var current = false; $('.section').hide(); $('h2').click(function(e){ if(current){ current.hide(); } current = $(this).next(); current.toggle().css({ 'background':'#ffc', 'border':'1px solid #999', 'padding':'5px' }); })
});

Predefine the current section as false, and set it when you click the first heading. You would then hide current only if it is true, thereby removing the need for another loop through all elements that have the class section.

But here is the interesting thing: if all you want is to show and hide sections, you don’t need any looping at all! CSS already goes through the document when it renders and applies classes. You just need to href="http://icant.co.uk/articles/sins/sins_section_class_handle.html">give the CSS engine something to hang on to, such as a class for the body:

$(document).ready(function(){ $('body').addClass('js'); var current = null; $('h2').click(function(e){ if(current){ current.removeClass('current'); } current = $(this).next().addClass('current'); })
});

By adding the class js to the body of the document and toggling the class current for the current section, you maintain control of the look and feel in CSS:

<style type="text/css" media="screen"> .section{ border:1px solid #999; background:#ccc; } .js .section{ display:none; } .js .current{ display:block; border:1px solid #999; background:#ffc; }
</style>

The beauty of this is that the handle will be re-usable by the CSS designer and maintainer. Anything without the .js selector would be the non-scripting-enabled version of a part of the document, and anything with the .js selector is applied only when JavaScript is available. And yes, you should think about the case when it is not.

Sin #4: Depending On JavaScript And Certain Input Devices

There is quite a discussion about the need to consider non-JavaScript environments in this day and age, but here is a fact: JavaScript can be turned off, and any JavaScript could break the page for the other scripts that are included. Given the flakiness of code out there that may be running alongside yours and the instability of wireless and mobile connections, I for one want to build one thing: code that works.

So, making sure that the most basic usage of your product does not depend on JavaScript is not just nice to have but essential if you expect people to actually use the product.

Absolutely nothing is wrong with using JavaScript heavily. On the contrary, it makes the Web much smoother and saves us a lot of time if done right. But you should never promise functionality that doesn’t work. And if you rely on JavaScript, this is exactly what you’re doing. I’ve already covered the effects of bad JavaScript in detail in the href="http://www.smashingmagazine.com/2010/02/10/some-things-you-should-know-about-ajax/">AJAX, href="http://www.smashingmagazine.com/2010/01/21/find-the-right-javascript-solution-with-a-7-step-test/">JavaScript testing and href="http://www.smashingmagazine.com/2010/01/14/web-security-primer-are-you-part-of-the-problem/">security articles here on Smashing Magazine, but once again here are some simple steps you can take to make sure you don’t break your promise to end users:

  • Anything vital to the functionality of your product should not require JavaScript. Forms, links and server-side validation and re-direct scripts are your friends.
  • If something depends on JavaScript, build it with JavaScript and add it to the document using the DOM or the equivalent method in your library of choice.
  • If you add JavaScript functionality, make sure it works with the keyboard and mouse. Click and submit handlers are bullet-proof, whereas key and mouse events are flaky and don’t work on mobile devices.
  • By writing clever back-end code that recognizes when data is required by JavaScript rather than building APIs that render HTML, you avoid having to do double-maintenance, which is an argument that many of the “Everyone enables JavaScript” zealots bring up a lot. For proof of this, check out the href="http://www.yuiblog.com/blog/2010/02/11/video-heilmann-yql/">presentation on building Web applications using YQL and YUI that I gave a few weeks ago (video in English and German).

When JavaScript Dependence Is Okay (to a Degree)

A lot of misunderstanding about JavaScript dependence stems from people making blanket statements based on the environments they work in.

If you are a Google engineer working on Gmail, you would be hard pressed to think of why you would even bother working without JavaScript. The same goes for widget developers who work on OpenSocial widgets, mobile applications, Apple widgets and Adobe Air. In other words, if your environment already depends on JavaScript, then by all means don’t bother with a fall-back.

But do not take these closed environments and edge-case applications as the standard by which we should be measuring JavaScript. JavaScript’s greatest power and greatest problem is its versatility. Saying that all websites can stand JavaScript because Gmail needs it is like saying that all cars should have a start button because they work great in Hybrids, or that hybrid cars should have massive tanks and cow catchers because they work great on Hummers. The technical feature set of a product depends on its implementation and target market. Different applications have different base functionality that needs to be satisfied in order to reach the largest audience and not block people out.

Consider the Use Cases and Maintenance

One fascinating aspect of JavaScript-dependent code is that, in many cases, people have simply not considered all the use cases ( href="http://icant.co.uk/articles/sins/sins_jsform.html">here’s a great example). Take the following HTML:

<form action="#" id="f"> <div> <label for="search">Search</label> <input type="text" value="kittens" id="search"> <input type="submit" id="s" value="go"> </div>
</form>
<div id="results"></div>

Without JavaScript, this does nothing whatsoever. There is no sensible action attribute, and the text field has no name attribute. So, even when you send the form off, the server won’t get the information that the user has entered.

Using jQuery and a JSON data source such as href="http://developer.yahoo.com/yql">YQL, you can do a pure JavaScript search with this:

$('#s').click(function(event){ event.preventDefault(); $('<ul/>').appendTo('#results'); var url = $.getJSON('http://query.yahooapis.com/v1/public/yql?'+ 'q=select%20abstract%2Cclickurl%2Cdispurl%2Ctitle%20'+ 'from%20search.web%20where%20query%3D%22'+ $('#search').val() + '%22&format=json&'+ 'callback=?', function(data){ $.each(data.query.results.result, function(i,item){ $('<li><h3><a href="'+item.clickurl+'">'+ item.title+' ('+item.dispurl+')</a></h3><p>'+ (item.abstract || '') +'</p></li>'). appendTo("#results ul"); }); });
});

This works… unless of course you are like me and prefer to send forms by hitting “Enter” rather than clicking the “Submit” button. Unless I tab through the whole form and focus on the “Submit” button, I get nothing.

So, that’s the first thing to fix. If you create forms, never use a click handler on the button. Instead, use the submit event of the form. This catches both the clicking “Submit” and hitting “Enter” cases. With one change, you now support all of the keyboard users out there, and the whole change is contained in the first line:

$('#f').submit(function(event){ event.preventDefault(); $('<ul/>').appendTo('#results'); var url = $.getJSON('http://query.yahooapis.com/v1/public/yql?'+ 'q=select%20abstract%2Cclickurl%2Cdispurl%2Ctitle%20'+ 'from%20search.web%20where%20query%3D%22'+ $('#search').val() + '%22&format=json&'+ 'callback=?', function(data){ $.each(data.query.results.result, function(i,item){ $('<li><h3><a href="'+item.clickurl+'">'+ item.title+' ('+item.dispurl+')</a></h3><p>'+ (item.abstract || '') +'</p></li>'). appendTo("#results ul"); }); });
});

We’ve now covered the first case. But without JavaScript, the form still doesn’t do anything. And another problem brings us to the next sin of writing JavaScript.

Sin #5: Making Maintenance Unnecessarily Hard

One thing that keeps great code off the Web is that our work environment, deadlines and hiring practices condition developers to build code for quick release, without considering how difficult maintaining that code will be later on. I once called href="http://developer.yahoo.net/blogs/theater/archives/2008/10/fronteers_2008_christian_heilmann_on_maintain_1.html">JavaScript the village bicycle of Web design ( href="http://www.slideshare.net/cheilmann/fronteers-maintainability-presentation">slides here): anyone can go for a ride. Because the code is available in the open, future maintainers will be able to mess around with it and extend it any way they like.

The sad thing is that the harder your code is to maintain, the more errors will be added to it, leading it to look more like alphabet soup than organized script.

Take the above example. Those of you who haven’t worked with href="http://developer.yahoo.com/yql">YQL and JSON-P for cross-domain AJAX undoubtedly had a “What?” moment looking at the code. Furthermore, keeping a lot of HTML in JavaScript easy to follow is hard, and guess what is the first thing to change when a new design for the page comes along? Exactly: the HTML and CSS. So, to make it easier to maintain, I for one would shift all of the work to the back end, thus href="http://icant.co.uk/articles/sins/independent.php">making the form work without JavaScript and keeping maintenance of all the HTML in the same document:

<?php
if(isset($_GET['search'])){ $search = filter_input(INPUT_GET, 'search', FILTER_SANITIZE_ENCODED); $data = getdata($search); if($data->query->results){ $out = '<ul>'; foreach($data->query->results->result as $r){ $out .= "<li> <h3> <a href=\"{$r->clickurl}\">{$r->title} <span>({$r->dispurl})</span> </a> </h3> <p>{$r->abstract}</p> </li>"; } $out .= '</ul>'; } else { $out = '<h3>Error: could not find any results</h3>'; }
} if($_SERVER['HTTP_X_REQUESTED_WITH']!=''){ echo $out; die();
}
?>
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN" "http://www.w3.org/TR/html4/strict.dtd">
<html>
<head> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> <title>Ajax Search with PHP API</title> <link rel="stylesheet" href="styles.css" type="text/css">
</head>
<body> <form action="independent.php" id="f"> <div> <label for="search">Search</label> <input type="text" value="kittens" name="search" id="search"> <input type="submit" id="s" value="Go"> </div> </form> <div id="results"><?php if($out!=''){echo $out;}?></div> <script src="jquery.js"></script> <script src="ajaxform.js"></script>
</body>
</html>
<?php
function getdata($search){ $url = 'http://query.yahooapis.com/v1/public/yql?'. 'q=select%20abstract%2Cclickurl%2Cdispurl%2Ctitle%20'. 'from%20search.web%20where%20query%3D%22'.$search.'%22'. '&format=json'; $ch = curl_init(); curl_setopt($ch, CURLOPT_URL, $url); curl_setopt($ch, CURLOPT_RETURNTRANSFER, 1); $output = curl_exec($ch); curl_close($ch); $data = json_decode($output); return $data;
}
?>

Someone who doesn’t understand PHP at all should still be able to change the HTML display without breaking the code. With this in place, the JavaScript boils down to a very simple script:

$('#f').submit(function(event){ event.preventDefault(); $.get('independent.php?search=' + $('#search').val(), function(data) { $('#results').html(data); } );
});

The normal way to make code more maintainable is to move everything that is likely to change away from the main functional part of the script into a configuration object at the very top of the script. You can return this as an object to the outside world to allow people to set it before they initialize the main functionality.

So, one change we can make to our earlier example—albeit a small one now, but that can change quickly when more requirements come in—is to have a configuration section right up front that defines the CSS classes in use:

$(document).ready(function(){ /* Configuration object - change classes, IDs and string here */ var config = { /* CSS classes that get applied dynamically */ javascriptenabled:'js', currentsection:'current' } /* functionality starts here */ $('body').addClass(config.javascriptenabled); var current = null; $('h2').click(function(e){ if(current){ current.removeClass(config.currentsection); } current = $(this).next().addClass(config.currentsection); })
});

For more information on configuration objects and why they rock for maintenance, check out the blog post “ href="http://www.wait-till-i.com/2008/05/23/script-configuration/">Providing Script Configuration Inline and Programatically“.

In summary, go over your code once more when you think you’ve finished with it and the next person is about to take it over.

Sin #6: Not Documenting Your Code

“Good code documents itself” is a terribly common and misguided belief. In my years as a developer, I’ve found that my style of coding has changed constantly. What was common knowledge and best practice in 2004 might be forgotten or even considered poor style these days.

Documenting all of the tricks and workarounds we do to make our code work in different browsers is definitely a good idea. This allows future maintainers to remove them when the targeted browser version becomes obsolete or a library function fixes the issue.

Commenting your code also allows the maintainer to trace it back to you should they need some piece of information, and it allows people who have stumbled across your script to include it in a larger solution or library (which has happened to me). Because JavaScripts tend replicate on the Web (in all of those blogs and “script collections”), it is also a way to make your name known.

Don’t go overboard with commenting, though. Obvious things don’t need to be spelled out. I have found the following situations worthy of comment:

  • Necessary hacks /> Browser hacks; content clean-up; things that should be supported server-side but are not yet.
  • Sections that are likely to change /> Timely solutions; IDs, classes and strings (as explained earlier).
  • Start of classes and reusable functions /> With name, author, version, date and license.
  • Third-party code /> Give credit where credit is due.
  • Sections with dependencies /> Some comment like, “Needs the Google API with an own key—this one will not work on your server.”

In short, comment on anything that deviates from the normal flow of coding. I tend to use /* */ instead of // because it won’t create a bug if people remove the line break by accident.

Special Case: Commenting Out Code

One special case is commenting out sections that will be necessary in future releases or that depend on functionality not currently available. This can be amazingly useful but also a security risk, depending on what you’re commenting out. For example, don’t leave in any code that points to server-side APIs that are not available yet but could at any time be half-implemented. I’ve seen this before, where administrator links with the full unprotected path were commented out in the HTML.

Still, commenting out can be very useful for debugging. One neat trick is the following:

/* myFunction('do something'); // */

This is now commented out. But by adding a single slash in front of the first comment line, you will uncomment the whole block and make it live.

//* myFunction('do something'); // */

This trick makes it awfully easy to toggle whole blocks.

Sin #7: Optimizing For Machines, Not People

The last sin is over-optimizing JavaScript based on the scads of information about performance that are available to us. You will find a lot of information on the Web about optimizing JavaScript for performance in the current browser environment. Notice that “current browser environment”—much information is browser- and version-specific and a necessary evil for now, but not necessarily in future. If your application is large or your website is high traffic, knowing and applying this information could make or break it. Again, though, a lot of this applies to edge cases that would have little impact on small projects and environments. This optimization does make it harder to maintain the code; some of the things we need to do to make browsers run fast on high-scale websites, such as writing out script nodes with document.write(), are downright nasty.

When faced with the choice between making code cleaner and easier to amend, extend and understand on the one hand, and shaving two milliseconds off every page load on the other, I opt for the former. A lot of JavaScript optimization can be done through scripts. And rather than teach all developers on a project the ins and outs of JavaScript performance, an expert team (or even a tool) could optimize the code before it goes live.

If you can do anything with machines to make the jobs of other machines easier, do it. The time has come for us to apply build processes as much to front-end code as we do to back-end code, instead of forcing ourselves to follow coding practices that go against the natural flow of writing code.

Further Reading

I hope you’ve gotten an idea now of how to make scripts more useful, easier to extend and safer to use. For more information, please check out the following links:

(al)

/>

© Christian Heilmann for href="http://www.smashingmagazine.com">Smashing Magazine, 2010. | href="http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/">Permalink | href="http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/#comments">32 comments | title="Bookmark in del.icio.us" href="http://del.icio.us/post?url=http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/&title=The%20Seven%20Deadly%20Sins%20Of%20JavaScript%20Implementation">Add to del.icio.us | title="Bookmark in Digg" href="http://digg.com/submit?phase=2&url=http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/">Digg this | title="Stumble on StumbleUpon" href="http://www.stumbleupon.com/submit?url=http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/">Stumble on StumbleUpon! | title="Tweet us!" href="http://twitter.com/home?status=@tweetmeme%20@smashingmag%20Reading%20'The%20Seven%20Deadly%20Sins%20Of%20JavaScript%20Implementation'%20http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/">Tweet it! | title="Bookmark in Reddit" href="http://reddit.com/submit?url=http://www.smashingmagazine.com/2010/02/22/the-seven-deadly-sins-of-javascript-implementation/">Submit to Reddit | href="http://forum.smashingmagazine.com/">Forum Smashing Magazine
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Art Manifestos and Their Applications in Contemporary Design

February 21, 2010 in Design by Brandon Corbin

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The way you express yourself with words is a crucial extension of your creative identity. Professional designers are usually busy focusing on the visual aspects of their craft, but visual arts and literary arts collide and coincide regularly. The two fields meet not just in typography, but also in press releases, social networking communication, slogans, promotional materials, ‘About Me’ pages, marketing strategies, and every single pitch, contract, and email you’ve ever sent to a client.

What might happen if you injected some of those materials with a healthy dose of poetry, humor, or bravado? Obviously, doing so will not be appropriate in some forums, but when it is, this may be a good way to express yourself and differentiate your brand from the crowd.

Some of the most electrifying examples of writing about art and design come in the form of the manifesto. The manifesto has played a pivotal role in some of the most important creative movements of the previous century: Futurism, Surrealism, and Cubism among them. Most graphic designers working today will probably not require their own manifesto, but it can be helpful to write a mission statement or expression of your creative goals. Likewise, most of us probably don’t intend to launch a full-scale ‘movement,’ but this genre of writing may inspire you to reconsider the literary content of your creative work and its public representation.

What is a manifesto?

class="mceTemp"> id="attachment_21117" class="wp-caption alignnone" style="width:446px;"> class="wp-caption-dt"> class="size-full wp-image-21117" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/Maciunas2.gif" alt="Maciunas2 in Art Manifestos and Their Applications in Contemporary Design" width="436" height="65"/>
style="font-style:italic;color:#444;">The 1963 Fluxus manifesto by George Maciunas includes rousing proclamations in the form of both handwriting and typewriter copy.

The artists’ manifesto is a “document of an ideology, crafted to convince and convert” (Mary Ann Caws, Manifesto: a Century of isms). The word ‘manifesto’ contains elements of the Latin terms ‘manus’ (hand) and ‘festus,’ which may be derived from the root ‘fendere,’ as in ‘offendere.’ In other words, the manifesto is a personal or even handwritten statement intending to shock, inspire, or offend. Most of the artists in this selection lived in times that they felt desperately required change, and their solution was revolution.

Artists’ manifestos were being written as early as 1886, but the genre developed into a “new literary sport” after the publication of Italian artist/provocateur F.T. Marinetti’s first Futurist manifesto in 1909 (Marjorie Perloff, The Futurist Moment). Marinetti’s writing had mythmaking qualities; this ringleader of the Futurists “became a public figure as a result of, not prior to the publication” of his manifesto.

Here are four artists’ manifestos, beginning with that of Futurism – the lunatic grandaddy of all artists’ manifestos. A review of each manifesto is accompanied by historical context, images of relevant artwork, and inspiration for contemporary applications of the ideas within.

[Offtopic: By the way, did you know that Smashing Magazine has a href="http://creatives.commindo-media.de/www/delivery/ck.php?oaparams=2__bannerid=1249__zoneid=0__cb=be1da96c6d__oadest=http%3A%2F%2Fm.smashingmagazine.com">mobile version? Try it out if you have an iPhone, Blackberry or another capable device.]

Futurism

An Overview

“Everything of any value is theatrical.” –F.T. Marinetti

Futurism originated in Italy in 1909 as an avant-garde movement that glorified technology, modernity, and even war. In their artwork, the Futurists strove to capture the speed and ‘force lines’ of motion and progress. This ideology pushed their work towards abstraction, and Futurism helped fuel the invention of Cubism.

Highlights from the Manifestos

class="mceTemp"> id="attachment_21118" class="wp-caption alignnone" style="width:409px;"> class="wp-caption-dt"> class="size-full wp-image-21118" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/figaro.gif" alt="Figaro in Art Manifestos and Their Applications in Contemporary Design" width="399" height="301"/>
style="color:#444;">F.T. Marinetti’s Futurist manifesto was first published in French newspaper Le Figaro in 1909. The manifesto text is preceded by a disclaimer about the author’s “singularly audacious ideas.”

“We have been up all night, my friends and I, beneath mosque lamps whose brass cupolas are bright as our souls, because like them they were illuminated by the internal glow of electric hearts… we have been discussing right up to the limits of logic and scrawling the paper with demented writing.”

So begins F.T. Marinetti’s Futurist manifesto, which is full of “demented writing” and poetic language (”celestial bivouacs,” “rogue locomotives”) intended to rouse and mesmerize. The concept of the “internal glow of electric hearts” is an example of Marinetti’s glorification of industrial machinery and his desire to emulate it. This fascination with technology is a familiar notion in this current gadget age we live in today.

Perhaps even more than most artistic movements, the Futurists were obsessed with demolishing the ideals that preceded them. In his Manifesto of Futurist Painters (1910), Italian artist Umberto Boccioni declared, “We will fight with all our might the fanatical, senseless and snobbish religion of the past, a religion encouraged by the vicious existence of museums. We rebel against that spineless worshipping of old canvases, old statues and old bric-a-brac, against everything which is filthy and worm-ridden and corroded by time. We consider the habitual contempt for everything which is young, new and burning with life to be unjust and even criminal. ”

“We want no part of it, the past”, Marinetti wrote, “we the young and strong Futurists!”

Futurist Work Samples

class="mceTemp"> id="attachment_21119" class="wp-caption alignnone" style="width:480px;"> class="wp-caption-dt"> class="size-full wp-image-21119" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/depero.jpg" alt="Depero in Art Manifestos and Their Applications in Contemporary Design" width="470" height="356"/>
style="color:#333;">Fortunato Depero’s book Depero Futurista, 1927.

The Futurists excelled at experimental typography, and there’s no greater example than Fortunato Depero’s book Depero Futurista, boldly bound with two metal bolts. Once again, the Futurists are seizing the opportunity to incorporate industrial machinery into their work. This also must’ve made the book annoyingly difficult to shelve, which probably had them brimming with mischievous glee.

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style="color:#444;">Two internal pages from Depero Futurista.

Depero’s page layouts reveal the force of his bold compositional strength. View the designer’s advertisments for Campari for further evidence of his typographic and compositional muscle.

class="mceTemp"> id="attachment_21121" class="wp-caption alignnone" style="width:510px;"> class="wp-caption-dt"> class="size-full wp-image-21121" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/boccioni.jpg" alt="Boccioni in Art Manifestos and Their Applications in Contemporary Design" width="500" height="333"/> style="color:#444;">Umberto Boccioni, The City Rises, 1910.

Boccioni exalts the colossal energy of the massive horses in this scene of urban labor. The horses test the limits of their harnesses while men direct the explosive equestrian strength. Man and horse appear almost as one. The artist could not have compressed more dynamism onto the canvas.

Contemporary Applications

Is your business a brand or a bland?

The Futurists excelled at drama. Say what you will about their work (the paintings are somewhat repetitive and occasionally, well, ugly), but they were never boring. It is a movement that never murmured, preferring to shout, sing, or scream.

Futurism shares a major quality with the contemporary web design community and that is a passion for progressive technology. The Futurists were intensely devoted to smashing the past while realizing the future. Web designers are always pushing the boundaries of what we’re capable of achieving, whether we’re developing new uses for content management systems or discussing the future potential of CSS (see the Surrealism section of this article for some distant future ideas). The lesson here is Always Evolve.

Another lesson is to keep it personal. Marinetti’s manifesto obsesses over machines, but it does so with intense emotion, which is a fundamentally human quality. In other words, don’t let your professional writing grow too cold. Those who excel in social networking excel at this aspect. Especially if your business identity is stark and pristine, a human touch goes a long way.

Dada

An Overview

To the Dadaists, logic was a pestilence. They believed that logic had led to a culturally and morally deficient society. These artists were so appalled by World War I that they violently rejected existing notions of culture, aesthetics, and even reason. Their work was anti-war, anti-bourgeois, and anti-conformity. Freedom was the goal; Dada sought to liberate a variety of media and its meanings from the shackles of the past. The Dadaists’ most powerful tools were biting satire and brazen provocation. Their ideology laid the foundation for Surrealism and their delight in anarchy makes them a cultural precursor to the punk movement that was born half a century later.

One of the most widely recognized symbols of the Dada movement is Marcel Duchamp’s Fountain (1917). The artist turned a urinal on its back, scrawled the absurd pseudonym ‘R. Mutt’ on its side, and declared it art. It was a lewd gesture towards the notion of contemporary art itself, which Duchamp criticized as being too ‘retinal’ in nature – mere aesthetic decoration. He succeeded with his ‘readymades’ at putting art “in the service of the mind” (hence, the constant labeling of his work as ‘conceptual’). The piece is emblematic of “the vehemently untraditional and bitingly critical nature of the Dada movement” (Marcel Duchamp 1887-1968, an essay by Nan Rosenthal). Dadaism assaulted the traditional values of fine art; Duchamp’s work succeeded in redefining the conception of what belongs in a museum setting, and therefore, the conception of what is considered art.

Highlights from the Manifestos

The Dadaists published many polemical manifestoes designed to provoke their critics and un-define their work. They insisted that the word ‘Dada’ was nonsense and that they were not a ‘movement.’ Each manifesto does its best to shatter any conventional thought on the matter. One such manifesto concludes, “Long live Dadaism in word and image! … To be against this manifesto is to be a Dadaist!”

Dadaist poet Tristan Tzara’s 1918 Dada Manifesto is a blustering rant. It is full of sound and fury, signifying nada. “DADA DOES NOT MEAN ANYTHING,” it demands. Intoxicated with energy, Tzara delivers stream-of-consciousness poetry that reels from social commentary to dream-drunk nonsense. “I destroy the drawers of the brain, and those of social organisation: to sow demoralisation everywhere, and throw heaven’s hand into hell, hell’s eyes into heaven.”

“Publicity and business are also poetic elements,” Tzara writes, foreshadowing Warhol’s claim that “business art is the best art.”

Work Samples

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This gorgeous cover design for Le Coeur à Barbe: Journal Transparent (1922) is attributed to the writer and artist Iliazd (also known as Ilia Zdanevich). Publication of this esoteric, single-issue journal was prompted by a feud between Dada leaders Francis Picabia and Tristan Tzara. The cover is regarded as an important example of early Twentieth-century avant-garde page layout.

class="mceTemp"> id="attachment_22095" class="wp-caption alignnone" style="width:377px;"> class="wp-caption-dt"> class="size-full wp-image-22095" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/hausmann.jpg" alt="Hausmann in Art Manifestos and Their Applications in Contemporary Design" width="367" height="524"/> style="color:#444;">Photomontage by Raoul Hausmann

Photomontage and collage developed into two of Dada’s most effective tools of artistic communication. The reappropriation of images from the mass media allowed for deft social commentary. Dissonant combinations of photos, advertisements and text seemed to capture the jolts of modern reality.

Contemporary Applications

Dadaism was a revolt, an “attack on the culture of a bankrupt society,” which “brought about a violent renewal of meanings” (The Dada Movement 1915-1923, by Marc Dachy).

Those of us who achieve notoriety as designers face a unique opportunity: the opportunity to be heard. Can you use that power to take a stand for your beliefs, to bring about change through good design and positive values? We make a statement – actively or passively – by every professional association we make, every client we choose to represent, and every product we validate by inclusion in our portfolio. Here in America, our designs exist in a culture fractured by deep ethical fissures. It is a culture where gun violence rears its hideous head in the headlines regularly – recently, on a daily basis. It is a culture where so desperate is the desire for fame that people are willing to infiltrate a White House party or stage a hoax involving the life of a child – all in the hopes of achieving reality television stardom. If the Dadaists realized a desire to shift their problematic cultural values, so should we, no matter what nationality we are. We do not require a ‘movement’ to do so. Cultural change is also affected by the simple choices of intelligent individuals. You do not need a soapbox. But look down; you may be standing on one.

If the best thing we designers have to get upset about are the font choices in Ikea brochures, our priorities are unbalanced. There are plenty of better things to rebell against – namely war, climate change, and the filmography of Nicolas Cage.

Surrealism

An Overview

class="mceTemp"> id="attachment_21123" class="wp-caption alignnone" style="width:331px;"> class="wp-caption-dt"> class="size-full wp-image-21123" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/magritte.jpg" alt="Magritte in Art Manifestos and Their Applications in Contemporary Design" width="321" height="450"/> style="color:#444;">René Magritte’s work is known for clever twists of visual logic.

Surrealism is a weird dream. This dream can be a vivid exploration of personal identity (Frida Kahlo) or a startling hallucination fraught with Freudian fears (Salvador Dalí). Oh, and there’s often weird fruit involved (think pomegranates or an orange in a doorway).

In short, Surrealism sought to explore the unconcious in order to break creative ground. Their artwork rejects rational thought in favor of absurdity and illogicality, suggesting that these qualities may offer more accurate representations of modern life’s disturbing complexities.

Highlights from the Manifesto

“We are still living under the reign of logic,” begins André Breton’s Le Manifeste du Surréalisme (1924). Breton rails against the supremacy of logic, and credits the work of Sigmund Freud for unleashing a “current of opinion” on the subjects of dreams and the subconscious. “Perhaps the imagination is on the verge of recovering its rights,” says Breton. “If the depths of our minds conceal strange forces capable of augmenting or conquering those on the surface, it is in our greatest interest to capture them.”

Ironically, Breton’s is the most sober and rationally argued manifesto in this selection. He is laying the philosophical groundwork for the artwork that will be built upon these ideals. The wildest language he uses is employed in this assessment of the dream state: “The mind of the dreaming man is fully satisfied with whatever happens to it. The agonizing question of possibility does not arise. Kill, plunder more quickly, love as much as you wish. And if you die, are you not sure of being roused from the dead? Let yourself be led.”

Work Samples

class="mceTemp"> id="attachment_21124" class="wp-caption alignnone" style="width:510px;"> class="wp-caption-dt"> class="size-full wp-image-21124" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/andalou.jpg" alt="Andalou in Art Manifestos and Their Applications in Contemporary Design" width="500" height="359"/> style="color:#444;">A razor is drawn towards a woman’s eye in this still from the film Un Chien Andalou by Salvador Dalí and Luis Buñuel, 1928.

Un Chien Andalou is a piece of Surrealist film that has had a profound and lasting impact on cinema. It can be seen as an example of Dalí’s skill with “the usual paralyzing tricks of eye-fooling.” The film has been thoroughly absorbed by pop culture; the rock band Pixies famously refer to it in the song ‘Debaser’ when Frank Black wails, “Got me a movie / I want you to know / Slicin’ up eyeballs!”

class="alignnone size-full wp-image-21479" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/ernst1.jpg" alt="Ernst1 in Art Manifestos and Their Applications in Contemporary Design" width="488" height="413"/>

style="color:#444;">Max Ernst, The Temptation of St. Anthony, 1945.

Goblins and gremlins galore! Ernst’s take on this classic painter’s narrative is visual feast of nightmares, but its monsters are also a bit cartoony with their grinning jowls and muppet eyes. St. Anthony is being overtaken and physically invaded by transforming plant creatures. Ernst described St. Anthony’s plight thusly: “Shrieking for help and light across the stagnant water of his dark, sick mind, St. Anthony receives as an answer an echo of his fear: the laughter of the monsters created by his visions.”

Corresponding visual sensibilities might be found in the work of contemporary filmmakers Tim Burton and Joe Dante (director of Gremlins and a memorable segment of Twilight Zone: The Movie). For another Surrealist take on the tale of St. Anthony, view Dalí’s composition of the same title.

Contemporary Applications

In many aspects of graphic design and marketing, the idea reigns supreme. A clever concept can be the key to a unique logo design; a startling idea can distinguish an advertisement from the crowd. Surrealists like Dalí and Magritte were idea men. View any of Magritte’s major works and you are looking at a stroke of conceptual brilliance that would humble the cleverest contemporary illustrator.

The conceptual strength shows in their words as well. Consider this choice quote from Dalí: “I consider perversion and vice to be the most revolutionary forms of thought and activity, just as I consider love to be the only attitude worthy of the life of a man.”

Dalí’s most famous painting is The Persistence of Memory, with its melting clocks, which have become the most recognized symbol of Surrealism. The theme of that painting is time, and the multiple melting clocks imply the simultaneous existence of various temporalities. What if we allowed ourselves similar freedoms with our imagination? What will CSS look like in ten years, or fifty (assuming CSS and civilization are still in existence)? What if there were a ‘Time’ property in CSS, and what would it do beyond mere animation? Perhaps CSS of the future will have a variety of temporal qualities, and perhaps it will go 3D as well. Could tomorrow’s cascading style sheets create a holographic effect? Could the cascade apply to past, present, and future?

Fluxus

An Overview

Like a cloud, Fluxus tends to appear in a different shape from one moment to the next. Their goal of ‘intermedia’ creativity blurred the boundaries of visual art, music, publishing, graphic design, and performance art. An international movement that began in the early 1960’s, the Fluxus artists entertained the absurdly paradoxical notion of becoming an “anti-art art movement.” Much like their ideological predecessors in Dadaism, this meant that they would attack the reigning notions of what art could or could not be. It also reveals their predilection for the absurd.

Highlights from the Manifesto

class="mceTemp"> id="attachment_21126" class="wp-caption alignnone" style="width:476px;"> class="wp-caption-dt"> class="size-full wp-image-21126" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/fluxus_manifesto.gif" alt="Fluxus Manifesto in Art Manifestos and Their Applications in Contemporary Design" width="466" height="320"/> style="font-style:italic;color:#444;">ABOVE: A portion of George Maciunas’ Fluxus Manifesto.

Like Fluxus itself, George Maciunas’ manifesto is a wild mongrel of a thing. According to Fluxus scholar Simon Anderson, Fluxus “deliberately experimented with, ignored, and tore down so many of the barriers and heirarchies of contemporary culture that no analogy suffices: [Fluxus] defies description, a condition that is perhaps its most potent source of strength.” (In the Spirit of Fluxus, Janet Jenkins, ed.)

Maciunas’ manifesto – which includes collaged literary definitions juxtaposed with his ranting handwritten voice – directly reflects the nature of his movement. It’s a good reminder: does the literary content of your design business accurately reflect the voice of your visual content?

Maciunas asked Fluxus artists to ‘purge’ their work of “bourgeois sickness” and “professional & commercialized culture.” A professional demeanor in the design industry is of utmost importance. However, if you’ve ever met a branding professional whose entire personality has been crafted into an ‘elevator pitch,’ you know how creepy and cold that can be. Speak to people like friends when you can. Never speak to them like just another potential sale. That’s rude and it makes you seem robotic.

Fluxus Work Samples

class="mceTemp"> id="attachment_21127" class="wp-caption alignnone" style="width:510px;"> class="wp-caption-dt"> class="size-full wp-image-21127" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/fluxkit.jpg" alt="Fluxkit in Art Manifestos and Their Applications in Contemporary Design" width="500" height="613"/> style="font-style:italic;color:#444;">Fluxkit, 1969, various Fluxus artists.

Fluxus was a graphic designer’s dream: typographic freedom, multimedia publishing, visual puns galore, audacious self-promotion. Looking for inspiration for your next promotional mailer? The Fluxus artists packed dozens of clever ideas into the diverse contents of their witty, mass-produced ‘Fluxkits’ and ‘Fluxboxes.’ Make absolutely sure to view the dense, inspiring collection in the Fluxus room at the Tate Modern the next time you’re in London.

class="mceTemp"> id="attachment_21128" class="wp-caption alignnone" style="width:472px;"> class="wp-caption-dt"> class="size-full wp-image-21128" src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2009/12/vautier3.jpg" alt="Vautier3 in Art Manifestos and Their Applications in Contemporary Design" width="462" height="338"/> style="color:#444;">Ben Vautier, Fluxbox containing God, 1961.

Fluxus was conceived as a publishing enterprise specializing in pamphlets, flyers, games, and various unpredictable objets d’art. The spirit of publishing remained central to its nature even though Fluxus artists eventually tried their hands at every other medium under the sun.

Contemporary Applications

“Too bad he died before its advent,” wrote the Village Voice, “(Fluxus founder George Maciunas) would’ve loved the internet.” If the internet is a playground, then take time to play between professional projects. Many of us draw for fun often, but when’s the last time you built a website for fun? Build a site for your own amusement. Build a humorous site that raises money for charity. Build a site in a day.

Fluxus artists spent a lot of time probing the concept of ‘intermedia’ art and performances. What applications or intersections of your media haven’t you considered yet? The Fluxus artists were fond of puzzles and games; what if you built a website that had a logic puzzle built into the code, with clues hidden in the ‘target’ function so that users could hunt for them by rolling their cursor over areas of text?

Or what if we plundered the online trends of other industries for ideas we can implement in design projects? The first bullet listed in href="http://chapmanchapman.wordpress.com/2009/12/01/predictions-for-2010/">these online media predictions in the publishing industry has ‘viral gold’ written all over it. Who will exploit ‘intermedia’ opportunities like these?

Web designers work in one of the only thriving, pivotal industries of this extraordinarily progressive era. Almost all prominent cultural industries have been thrown into upheaval due to the evolutionary progress of the web and a variety of other twenty-first century factors. Cultural monoliths are falling to their knees all around us – the record industry, the publishing industry, and the automobile industry among them. How can we learn from them? And more importantly, how can we help each other evolve?

Web design in the twenty-first century means much more than the unfolding potential of CSS and the dead, discarded shells of old browser versions. It means that we will be central to social, cultural, and political revolutions worldwide. It means opportunity – the opportunity to expand and assist the progress of global cultures.

In Conclusion

Build your business into a brilliant brand, not a boring bland. Seek new and unusual intersections of media. Look at the big picture. What’s going on in your neighbor’s industry today that will affect yours tomorrow?

Go to a museum. Put more art in your design. Always evolve. Be witty and unpredictable. Just remember, as illustrator Sergio Baradat once said, “It’s okay to pull a rabbit out of your hat, but sometimes a rabbit out of a hat is not what’s called for.”

Promote positive change in the world around you when you can. Support a charitable cause. Use your voice. Don’t waste words. Make them sing and dance.

Further Reading

Would you like to see more similar posts on Smashing Magazine?

This article is one of our experimentations of the new content formats on Smashing Magazine. Did you find it interesting? Did you find it useful? Did you find it too easy or too difficult? Please let us know in the poll below and in the comments to this post! We are looking forward to your feedback!

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© Dan Redding for href="http://www.smashingmagazine.com">Smashing Magazine, 2010. | href="http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/">Permalink | href="http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/#comments">14 comments | title="Bookmark in del.icio.us" href="http://del.icio.us/post?url=http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/&title=Art%20Manifestos%20and%20Their%20Applications%20in%20Contemporary%20Design">Add to del.icio.us | title="Bookmark in Digg" href="http://digg.com/submit?phase=2&url=http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/">Digg this | title="Stumble on StumbleUpon" href="http://www.stumbleupon.com/submit?url=http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/">Stumble on StumbleUpon! | title="Tweet us!" href="http://twitter.com/home?status=@tweetmeme%20@smashingmag%20Reading%20'Art%20Manifestos%20and%20Their%20Applications%20in%20Contemporary%20Design'%20http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/">Tweet it! | title="Bookmark in Reddit" href="http://reddit.com/submit?url=http://www.smashingmagazine.com/2010/02/21/art-manifestos-and-their-applications-in-contemporary-design/">Submit to Reddit | href="http://forum.smashingmagazine.com/">Forum Smashing Magazine
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Free Dark and Clean WordPress Theme: Designpile

February 20, 2010 in Design by Brandon Corbin

width="650">
width="650"> style="width:650px;"> src="http://creatives.commindo-media.de/static/smashing-magazine-advertisement.gif" alt="Smashing-magazine-advertisement in Free Dark and Clean WordPress Theme: Designpile" border="0"/> /> href="http://creatives.commindo-media.de/www/delivery/ck.php?zoneid=56"> src="http://creatives.commindo-media.de/www/delivery/avw.php?zoneid=56" border="0" alt=" in Free Dark and Clean WordPress Theme: Designpile"/>   href="http://creatives.commindo-media.de/www/delivery/ck.php?zoneid=63"> src="http://creatives.commindo-media.de/www/delivery/avw.php?zoneid=63" border="0" alt=" in Free Dark and Clean WordPress Theme: Designpile"/>  href="http://creatives.commindo-media.de/www/delivery/ck.php?zoneid=64"> src="http://creatives.commindo-media.de/www/delivery/avw.php?zoneid=64" border="0" alt=" in Free Dark and Clean WordPress Theme: Designpile"/>

In this post we are glad to release DesignPile WordPress Theme, a theme designed by href="http://wordpress.site5.net/designpile">Site 5 and released for Smashing Magazine and its readers. The theme comes with 3 color styles and a couple of jQuery-based goodies. It can be used for portfolios and blogs as well as corporate webAs usual, the theme is free to use in private and commerical projects.

href="http://wordpress.site5.net/designpile" title="Visit the demo"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/uploader/images/wordpress-theme-designpile/release.png" width="450" height="450" alt="Release in Free Dark and Clean WordPress Theme: Designpile"/>

Download the theme for free!

The theme is released under GPL. You can use it for all your projects for free and without any restrictions. Please link to this article if you want to spread the word. You may modify the theme as you wish.

href="http://wordpress.site5.net/designpile"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/designpile-main.jpg" width="500" height="748" alt="Designpile-main in Free Dark and Clean WordPress Theme: Designpile"/>

Features

Here are some of the features of the theme:

class="showcase"> href="http://wordpress.site5.net/designpile" title="Visit the demo"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/sidebar.jpg" width="390" height="681" alt="Sidebar in Free Dark and Clean WordPress Theme: Designpile"/> />Sidebar

class="showcase"> href="http://wordpress.site5.net/designpile" title="Visit the demo"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/content.jpg" width="500" height="370" alt="Content in Free Dark and Clean WordPress Theme: Designpile"/> />Content, overview

class="showcase"> href="http://wordpress.site5.net/designpile" title="Visit the demo"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/about.jpg" width="376" height="265" alt="About in Free Dark and Clean WordPress Theme: Designpile"/> />“About the author”-section

class="showcase"> href="http://wordpress.site5.net/designpile" title="Visit the demo"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/comments.jpg" width="550" height="531" alt="Comments in Free Dark and Clean WordPress Theme: Designpile"/> />Comments

class="showcase"> href="http://wordpress.site5.net/designpile" title="Visit the demo"> src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/categories.jpg" width="400" height="744" alt="Categories in Free Dark and Clean WordPress Theme: Designpile"/> />Categories archive section

Thank you, Gabi Schiopu and the Site 5 design team! We appreciate your work and your good intentions!

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© Smashing Editorial for href="http://www.smashingmagazine.com">Smashing Magazine, 2010. | href="http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/">Permalink | href="http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/#comments">26 comments | title="Bookmark in del.icio.us" href="http://del.icio.us/post?url=http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/&title=Free%20Dark%20and%20Clean%20WordPress%20Theme:%20Designpile">Add to del.icio.us | title="Bookmark in Digg" href="http://digg.com/submit?phase=2&url=http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/">Digg this | title="Stumble on StumbleUpon" href="http://www.stumbleupon.com/submit?url=http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/">Stumble on StumbleUpon! | title="Tweet us!" href="http://twitter.com/home?status=@tweetmeme%20@smashingmag%20Reading%20'Free%20Dark%20and%20Clean%20WordPress%20Theme:%20Designpile'%20http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/">Tweet it! | title="Bookmark in Reddit" href="http://reddit.com/submit?url=http://www.smashingmagazine.com/2010/02/20/free-dark-and-clean-wordpress-theme-designpile/">Submit to Reddit | href="http://forum.smashingmagazine.com/">Forum Smashing Magazine
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National Geographic’s laptop-covering GelaSkins

February 19, 2010 in Design by 8ify.com - Design

What do you get when you combine Apple, National Geographic, 3M, and “mobile art” company Gelaskins? These suh-weet nature-inspired MacBook laptop skins:

0gelaskins001.jpg

The anti-scratch skins boast an absurdly high photo quality, and the patented 3M adhesive backing makes them easy to put on or take off without leaving any residue. 3M has even lined the adhesive side with special “micro channels” so you don’t get that air-bubble problem when applying the decals.

0gelaskins002.jpg

GelaSkins also makes these for iPhones and iPods as well as plenty of non-Apple products. See more of ‘em here.

via cult of mac

(more…)



Is John The Client Dense or Are You Failing Him?

February 19, 2010 in Design by Brandon Corbin

width="650">
width="650"> style="width:650px;"> src="http://creatives.commindo-media.de/static/smashing-magazine-advertisement.gif" alt="Smashing-magazine-advertisement in Is John The Client Dense or Are You Failing Him?" border="0"/> /> href="http://creatives.commindo-media.de/www/delivery/ck.php?zoneid=56"> src="http://creatives.commindo-media.de/www/delivery/avw.php?zoneid=56" border="0" alt=" in Is John The Client Dense or Are You Failing Him?"/>   href="http://creatives.commindo-media.de/www/delivery/ck.php?zoneid=63"> src="http://creatives.commindo-media.de/www/delivery/avw.php?zoneid=63" border="0" alt=" in Is John The Client Dense or Are You Failing Him?"/>  href="http://creatives.commindo-media.de/www/delivery/ck.php?zoneid=64"> src="http://creatives.commindo-media.de/www/delivery/avw.php?zoneid=64" border="0" alt=" in Is John The Client Dense or Are You Failing Him?"/>

Meet John the client. John runs a reasonably large website. He is a marketer who considers himself smart, articulate and professional. That said, he doesn’t know much about Web design, and so he needs your help. John comes to you with a clear set of business objectives and asks for a quote. But what happens next leaves John confused, frustrated and extremely unhappy.

[Offtopic: by the way, did you already get your copy of the brand new href="http://creatives.commindo-media.de/www/delivery/ck.php?oaparams=2__bannerid=1368__zoneid=0__cb=b06a9d8418__oadest=http%3A%2F%2Fshop.smashingmagazine.com%2Fsmashingbook-dispatcher.php%3Fd%3Dsmashing-book%26utm_source%3DSmashing%252BMagazine%26utm_medium%3Deditorialbox2%26utm_content%3DBTW-Werbesatz%252Bmit%2520Shop%2520als%2520Ziel%26utm_campaign%3DSmashing%252BMagazine%2520-%2520BTW%2520Editorial%2520Box%2520-%2520Shttp://creatives.commindo-media.de/www/delivery/ck.php?oaparams=2__bannerid=1368__zoneid=0__log=no__cb=b06a9d8418__oadest=http%3A%2F%2Fshop.smashingmagazine.com%2Fsmashingbook-dispatcher.php%3Fd%3Dsmashing-book%26utm_source%3DSmashing%252BMagazine%26utm_medium%3Deditorialbox2%26utm_content%3DBTW-Werbesatz%252Bmit%2520Shop%2520als%2520Ziel%26utm_campaign%3DSmashing%252BMagazine%2520-%2520BTW%2520Editorial%2520Box%2520-%2520Smashing%2520Bookmashing%2520Book">Smashing Book?]

Explain Why You Are Asking About Money

Before giving John his quote, you ask a little more about the project. After chatting for a few minutes, you ask him about his budget. A fair question, you think. After all, you could approach the project in so many ways. Without knowing the budget, knowing where to begin is impossible. In your mind, building a website is like building a house. Without knowing the budget, you can’t possibly know how many rooms the client can afford or what materials you should use to build.

John, on the other hand, is instantly suspicious. Why would you want to know about his budget? The only reason he can think of is that you want to make sure you don’t charge him less than what he is willing to give. Besides, he doesn’t really know his budget. How the heck is he supposed to know how much a website costs?

src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/money-20100210-1629242.jpg" width="599" height="327" alt="Money-20100210-1629242 in Is John The Client Dense or Are You Failing Him?"/> /> Don’t come across as money-grubbing. ( href="http://flic.kr/p/6eyE3T">Image credit)

John leaves, determined to find a Web designer who doesn’t want to take advantage of him. Fortunately for you, all of the other designers he speaks with also neglect to explain why they need to know about his budget, and so you manage to win the project after all.

Justify Your Recommendations In Language John Can Understand

Once you have won the job, you arrange a kick-off meeting to nail down the specifications. However, John instantly regrets his decision to hire you because his worse fears have been confirmed. In his eyes, you are all of a sudden trying to squeeze more money out of him as you waffle about the importance of usability and accessibility. John doesn’t care about disabled users. He doesn’t expect disabled users to visit his website anyway.

And as for usability, surely the job of the Web designer is to make the website usable. Why do we need expensive usability testing? He is pretty certain that usability testing involves expensive things like cameras, labs and two-way mirrors. You thought you had explained these issues clearly. You spoke of WCAG 2, and you mentioned Jakob Neilsen. You are beginning to wonder if John is a bit thick.

src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/confused-20100210-1632551.jpg" width="600" height="335" alt="Confused-20100210-1632551 in Is John The Client Dense or Are You Failing Him?"/> />Avoid techno-babble if you expect clients to understand what you’re talking about. ( href="http://flic.kr/p/frJ48">Image credit)

Perhaps if you had talked about accessibility in terms of assessing search engine rankings and testing usability as a way to increase conversion, then John might have listened. As it is, John puts his foot down and refuses to pay for any of these “unnecessary extras.”

Include John In The Process

You walk away from the kick-off meeting pleased to have a signed contract. But that feeling in the pit of your stomach tells you that this might be another one of those projects. Regardless, you try to be optimistic, and you dive into the design process. Almost immediately, you get a phone call from John asking if there is anything for him to see. You explain that it is still early in the process and that you are not ready to present anything. John sounds disappointed but resigned.

A short while later, you are ready to present the design to John. You are pleased with the result. It took you a lot more time than you had budgeted for, but it was worth it. The final design is extremely easy to use and will make for a great portfolio piece.

src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/hide-20100210-1637471.jpg" width="600" height="263" alt="Hide-20100210-1637471 in Is John The Client Dense or Are You Failing Him?"/> /> Stop hiding from your clients. Show them your work early on, and include them in the process. ( href="http://flic.kr/p/4n6M23">Image credit)

When John sees the design, he is horrified. From his perspective, you have entirely missed the point. The design clashes with his offline marketing materials and doesn’t hit the right selling points. Also, he is convinced that his suppliers will hate it and, although they are not his end users, their opinion matters.

After a tense conference call, you feel demoralized but have struck a compromise that hopefully will make John happy. You wonder in hindsight whether showing John some of your initial ideas and sketches would have been better. Perhaps you should have presented a wireframe first.

Educate John About Design

After much agonizing and compromise, you are once again ready to present to John. John is much happier with the new design and feels it is heading in the right direction. However, he does have some concerns. For starters, he has to scroll to see most of the content, and yet white space takes up either side of the design. He tells you to move key content into this wasted space. Also, as he thinks about his young male target audience, he realizes that the color scheme is too effeminate, so he tells you to change it to blue.

While John feels somewhat happier, you feel crushed. You feel as though he is trying to do the job for you. The instructions to move this there and change this color to that makes you feel like you have been reduced to pushing pixels.

src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/Teaching-20100210-164155.jpg" width="600" height="303" alt="Teaching-20100210-164155 in Is John The Client Dense or Are You Failing Him?"/> /> Educate your clients so they make more informed decisions. ( href="http://flic.kr/p/Hf2E7">Image credit)

By this point, you are sure the client is dim, and now you just want him to sign off on a design. At no stage do you think to ask John why he is requesting these changes. Perhaps if you had appreciated his thinking, you could have explained concepts such as screen resolution and suggested an alternative to corporate blue, which is so over-used on the Web.

Instead, you wash your hands of the design and just give John what he wants.

Communicate With John Regularly

Now that the design is complete, you turn your attention to building it. John certainly won’t care about your code. Now you can finally do things right.

It’s a big job and takes a lot of time. Even though you put too much time into the design and washed your hands of it, you still have your pride. You are not about to cut corners with the code. After all, other designers might look at it and judge you! You work really hard, putting in more work than you probably should have. John even manages to slip in some extra functionality at the scoping phase, which turns out to be a pain in the butt.

For his part, John is wondering what’s going on. He hasn’t heard from you in weeks. Surely the website must be ready now? He decides to email you to ask how things are progressing. You reply with a short email telling him that everything is progressing smoothly. You never did like project management, and you are sure John would prefer that you spend time building his website instead of writing him detailed reports.

John receives your email and is becoming increasingly frustrated. What does “progressing smoothly” mean? He writes back asking for an expected date of completion, and you reply with a rough estimate.

The date comes and goes without a word from you. After all, it was merely an estimate, and several complications have delayed completion by a few days. John finally loses his temper and calls you. He tells you that he has arranged a marketing campaign to coincide with the launch date, and because he hadn’t heard from you, he presumed everything was on schedule.

src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/communication-20100210-1645141.jpg" width="599" height="322" alt="Communication-20100210-1645141 in Is John The Client Dense or Are You Failing Him?"/> /> Communicate with your client regularly. ( href="http://flic.kr/p/691uEj">Image credit)

You defend yourself, citing “scope creep” and unanticipated delays. But responding is difficult when John says, “All I needed was a weekly email keeping me up to date on progress.”

Explain John’s Ongoing Role

By this stage, the relationship has broken down entirely. You finish your work, and the website finally launches. Begrudgingly, John pays the invoice after delaying it for as long as possible. What amazes you most is John’s pronouncement that he is bitterly disappointed with the result. How can that be when you gave him exactly what he asked for? This guy isn’t just thick: he’s a jerk!

Of course, John sees things differently. He came to you with a list of his business objectives, and the website has failed to meet any of them. He had hoped to launch the website, watch it achieve his objectives and then move on to the next project. Instead, after an initial spike in interest, the number of users and inquiries dropped over time, and the website stagnated.

src="http://media.smashingmagazine.com/cdn_smash/wp-content/uploads/2010/02/seedling-20100210-164927.jpg" width="600" height="397" alt="Seedling-20100210-164927 in Is John The Client Dense or Are You Failing Him?"/> /> Ensure that your client understands what kind of ongoing care their website will need. ( href="http://flic.kr/p/68QFDp">Image credit)

What John does not realize is that websites need continued love and support. You cannot build a website and then abandon it. John has to nurture it by adding new content, engaging with visitors and planning for ongoing development.

If only someone had told him.

The Moral Of The Story

It’s amazing how quick we are to judge our clients.

As Web designers, we communicate and empathize for a living. Our job is to communicate messages to our clients’ users. We create usable websites by putting ourselves in the position of our users, which allows us to design around their needs.

Why, then, do we so often seem to be incapable of empathizing or communicating with our clients? Perhaps it is time for us to apply the skills we have cultivated as Web designers to our own customers.

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Quick Tip: Easy Sequential Animations in jQuery

February 18, 2010 in Design by 8ify.com - Design

In this video quick tip, I’ll demonstrate an easy way to allow for sequential animations of an infinite number of elements. I originally learned this technique from Dave Methvin, but don’t think that many people are aware of this neat little trick.


The Goal

We want to filter through an infinite number of elements on a page, matching some selector, and then make them sequentially fade out.

The HTML

<body> <p>Watch</p> <p>Me</p> <p>Disappear</p>
</body>

The jQuery

var paras = $('p'), i = 0; // If using jQuery 1.4, you don't need to do || [].
(function() { $(paras[i++] || []).fadeOut('slow', arguments.callee);
})();

We begin by “caching” all of the paragraphs on the page, wrapped in the jQuery object (var paras). We also create an iterator variable – i. This iterator will allows us to target each new paragraph element, without knowing the specific length of the paras object ahead of time.

Within the self-invoking anonymous function, we get the first paragraph on the page with “paras[i]” … But we want to increment i by one for each iteration. This way, the next time the selection is called, it’ll be referring to the next element in the wrapped set. So, we must be sure to write paras[i++]. Then, it’s a simple matter of calling fadeout, and passing arguments.callee as the callback function, to allow for recursion. This will be equal to the function it’s contained in; so we’re essentially saying “rinse and repeat!”

alert(arguments.callee); // alerts the following (function() { $(paras[i++] || []).fadeOut('slow', arguments.callee);
})();

Note

If, for some reason, you’re using jQuery 1.3 or older, you need to specify what should happen when paras[i] is equal to an element that doesn’t exist. In older versions of jQuery, it returns an error, “undefined.” To compensate, we pass $(paras[i++] || []) to specify that, if the element doesn’t exist, we instead wrap an empty array, to avoid any errors.

It should be noted that, as of jQuery 1.4, this is unnecessary, as jQuery will return the jQuery object instead.