Spring Colour Chart 2013


Ideal Font Sizes

For those who don’t already know, there’s been some really interesting conversation in the web design community on the topic of responsive design. In short, it describes a method by which a single site template can serve content for both largish sized screens like desktops and laptops, as well as smallish sized screens like smartphones, and perhaps tablets.

 

But the typography guy in me has always been somewhat conflicted about whether the font sizes in the content are being displayed adequately. Especially after reading an article like the one on Smashing Magazine: 16 PIXELS For Body Copy. Anything Less Is A Costly Mistake. In short, it suggests that a larger font size works for web copy because it is usually viewed from further away. In other words, the ideal font size will vary depending on the viewing distance between the content and the reader. This led me to another realization. As we strive to future-proof our designs, we should expect that ideal font sizes will change as monitor resolutions increase, so is there a way we can calculate the ideal font size? I think there might be.

Influence of ideal reading text size

As mentioned earlier, this post was influenced by an article, reiterated on the iA site, that states that there is a relationship between reading material distance, and it’s ideal legible font size. My first question was: How do you define ideal font size in relative terms?

The answer to this I think lies in something called fovea centralis:

The fovea is responsible for sharp central vision (also called foveal vision), which is necessary in humans for reading

So we need “foveal vision” to read, fine. How does it work? The part that stuck out for me was:

The fovea sees only the central two degrees of the visual field.

I’ve also read that it’s only one degree. But regardless, it’s small. And within this visual field, one can focus on about 4 letters at a time. This probably means that with any book you read, you’ll be inclined to place it far enough away so that you can read about 4 letters at a time, per the comfort of your foveal vision. Interesting, but is that useful information? Maybe, but not on its own. Must read more.

Common comfort distances for viewing screens, in home theatres?

Doing more searching, I stumbled upon a discussion about angle of view (or field of view) in the context of the ideal distance to put a large HDTV away from the couch. It was anywhere from 20-40 degrees, an average of 30 degrees. Interesting. It made me think that there must be a similar discussion in the context of positioning one’s monitor.

 

That led me to this gem from my very own Canadian government. It confirms that the ideal viewing angle is 30 degrees.

Lightbulb

Like the crackle of an incandescent bulb, I realized something. Ideal viewing distance should mean that the reading media is positioned far enough away to accommodate a 30 degree viewing angle, give or take. Within this field of view lies foveal vision, which uses 1-2 degrees of FOV. Does this not sound like the beginnings of a ratio that can be calculated? It sure does!

Calculations for ideal font size (The Meat)

Here we go. Let’s assume that you have a screen, any size really but we’ll say that it’s 1600 x 900.

 

Like a good proper computer user you are, you’ve situated the screen at the proper distance of about a 30 degree field of view. Well done.

 

The next step, admittedly, I fudged a little. But we don’t use square monitors, so let’s average 1600 x 900 to arrive at a 1250 pixel perfect circle diameter. This circle reflects a 30 degree field of view, and within it is our 1 degree or so of foveal vision. So:

 

1250 * (1/30) = 42 (rounded). Our foveal vision on this screen is about 42 pixels wide.

 

But let’s not forget, the foveal vision accommodates 4 letters, so:

 

42 / 4 = 11 (rounded). One letter should be set for 11 pixels wide.

 

But wait, fonts are not usually measured by width, and certainly not on the web, so now what? I found that there is no easy answer to translating width measurement to font height. While it seems there are scripts that allow you to detect a font’s x-height, they are laborious. Browsers don’t usually calculate them. I haven’t found an elegant solution for this part yet, so it’s time for another fudgery. Assuming that the font is reasonably well proportioned, we can use the golden ratio to extrapolate what an ideal font height might be.

 

11 * 1.61803398875 = 18 (rounded).

 

And there you have it. The ideal font size on my laptop is about 18 pixels, give or take. While perhaps not foolproof, this at least starts the process of finding a reliable and repeatable calculation to decide what the ideal font size should be for any screen.

 

Web designers? What do you think?


Creating A Workback Schedule

What’s A Workback Schedule?

A Workback Schedule is a useful method that reveals the milestones that a project will have to meet. It forces you to think about what a successful project will look like, and the steps you will have to take to get there.

Why Use A Workback Schedule?

Creating a Workback can protect both the designer and client from setting unreasonable expectations for a project. The designer is able to foresee and establish any required buffer or lead times and include them into the Workback Schedule. The Workback may also reveal additional task requirements a project must meet that hadn’t been considered previously.

You can Google search to find plenty of resources on how to create a Workback Schedule.


What is content anyway?

Some time ago, I had a discussion via Twitter with Roz Allen (@therozblog) about exactly what it is content on the web. Is it text, photos, video?

You can catch our conversation here:
https://twitter.com/kemosite/status/200696329880604672

As someone who has worked extensively with multiple media forms, I have seen that content is not limited to any one format or media platform. Content is modular, and is simply an item that communicates an idea. The idea is communicated by media types such as web pages, social media, or printed pieces.

What do you think? What is content anyway? Feel free to share your thoughts in the comments.


Inverse and Complimentary Colours

Here’s a post I never got around to finishing. Kind of surprising considering it’s a pretty simple concept.

Adobe Illustrator has a neat feature to automagically pick out inverse and complementary colours. Have you ever wondered how to do that in Photoshop or InDesign? It’s not that difficult. Here’s how I do it.

To get a complementary colour:

  • Convert your colour into the Lab space.
  • Invert the ‘a’ and ‘b’ values.

That is to say, if your is L: 61 a:-17 b:-46, the complementary colour is: L: 61 a:17 b:46

To invert the colour entirely, you only have to go one step further. Subtract L from 100, for example:

L: 61 a:-17 b:-46 becomes L: 39 a:17 b:46

That’s it! Happy colour-exploring.


Social Capitalism? Neat!


Is government policy a design problem?

I want to say first that I think Michael Moore is a genius. I don’t always agree with his views entirely, but I love how he at least gets me thinking about government policy and society.

I recently finished watching “Capitalism: A Love Story“, and one particular moment caught my attention. It was a clip of former U.S. president Roosevelt in his State Of The Union address of 1944, regarding the need for a second Bill or Rights.

You can read a summary of what it was about on WikiPedia:
http://en.wikipedia.org/wiki/Second_Bill_of_Rights

In it, Roosevelt declared an “economic bill of rights” which would guarantee:

  • Employment, with a living wage
  • Freedom from unfair competition and monopolies
  • Housing
  • Medical care
  • Education
  • Social security

I was floored. This was amazing to me. I’ve never known of any leader of the U.S. in the 20th century to be so… socialist? From my perspective, Canada has had these programs to some capacity for a while, but we have been witnessing the erosion of these programs over many years.

The clip got me thinking about how operating these programs as a state level, guaranteed to all, would work as a design problem. How do you make certain of these “economic guarantees” for all people, while maintaining free market conditions?


Social Media isn’t supposed to be complicated, people…

Admittedly, I haven’t had a blog in a while. Shame on me, I know, but it’s true.

Anyways, I’m getting back into the game. So naturally, one of the first things I look up is how to integrate my blog with my Facebook, Twitter, and all my other online profiles.

Holy cluster-crunch Batman!

I’m not expecting much, just something that gives me some buttons that doesn’t completely screw up the look of my site or take me hours to configure. Here’s my profile name, use this button, now GO!

But, no.

I used to link up my blog to Twitter, which would in turn send it to Facebook. I think such practices are seen as something of a faux pas now, so I’m trying to avoid that route. And yet, here I am. Wondering how to get my whining and complaining about not integrating with social media out into social media. Go figure.

Anyways. I’ll chalk that up as something to consider whilst I work on my site redesign.


Additive and Subtractive Colour: Which Way to White?

Every now and again, I have to remind myself of the difference between additive and subtractive colour, and which colour mode, RGB or CMYK, uses which modal. The way I remind myself is with a simple rule called “which way to white.” It works like this:

Take a piece of paper that has been printed like an advertisement, presumably CMYK ink printed on a white sheet. How do you get the white colour? Take the ink away. Therefore, CMYK = subtractive.

RGB is therefore additive by deduction.

The result: CMYK = subtractive, RGB = additive, and “which way to white” helps you remember that.


Found: Logo Design Trends 2009 – Showcase | 1stwebdesigner – Love In Design