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Julian Calderazi presented the benefits of Accessible EPUB production workflows for That same year, my toothpick bridge design broke the school record for In March, textBOX examined the challenges in delivering accessible web content Publishers should be responsible for providing accessible content for every. Язык: Английский Формат: PDF, ePub Scott Jehl | Responsible Responsive Design Ethan Marcotte Dan Cederholm | CSS3 for Web Designers, 2nd edition . architecture in order to craft better digital experiences for everyone. Available in Paperback, EPUB, PDF, and MOBI Book Pack. Responsive Design. Buy.

Responsible Responsive Design Epub

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Services *I can provide *PDF/word to epub and mobi conversion. *ebook design. *epub to Responsive HTML / CSS Expert | PSD to HTML | Sketch to HTML. Hello and welcome to the fourth edition of Learning Web Design. So much has .. calling herself the “Designer” often is responsible for more than one (if not. January 30, Books. Responsible Responsive Design by Scott Jehl English | | ISBN: | Pages | PDF, EPUB | 14 MB. You're designing.

With very few exceptions, PDF will look exactly the same on every system and will print the same on every system. HTML doesn't really have that same benefit. Could you expand on why you don't like PDF? Pdf pages are usually based on A4 size which is mm wide.

Even at full size the writing is often tiny.


Once rendered on a 10cm wide screen landscape it's pretty darn hard to read. Also in general the mobile pdf reading experience sucks. For example you have to download a file rather than browse to on Android and the hunt it down to open it. The pdf readers I've used easily accidentally scroll you to a random page if you make a mistake in where you touch the screen. E-reader software has to implement hyphenation; nobody else should touch it. Joining the letters together into ligatures avoids unpleasant collisions, like the top of an f hitting the dot of an i.

As with hyphenation, ligatures are purely a display artifact. Your rendering engine needs to put them in. Do not pollute your source text with ligature characters. What if I want to capitalize large blocks of text?

What if I want to search the text, or look up a word containing a ligature character in a dictionary? Of course you could program very intelligent software to overcome the problem. Rarer ligatures, like ct and st , are also an issue for display engines, not underlying text. When you need to actively prevent ligature use, as in an URL that includes the letters fi or fl , there seems to be no way around adding a zero-width nonjoiner character between the letters.

Hanging or hung punctuation. Typesetting some punctuation marks, like quotation marks and dashes, slightly outside the margin makes printed text look better and may also make onscreen text look better. This too is up to the display engine, not the text or its author. Pure separation of structural markup and presentation will be impossible to achieve in books more often than on websites.

Common book-typography features can be adequately expressed in E-books only by the sacrilege of altering the source manuscript.

As commonly used in print books, em dash — with no spaces on either side does not work in onscreen text. Rendering engines may be too dumb to break a line before or after the em dash. Of course that may be solved someday. En dash — surrounded by spaces avoids linebreak problems and works better at the intended purpose. Stated concisely: Space characters.

You absolutely can use space characters wider and narrower than a standard word space. Em, en, and thin spaces are all defined in Unicode , along with many others, and display support is quite good and improving.

A standard word space or a nonbreaking word space is the wrong character in many constructions, as between nested levels of quotation marks or apostrophe adjacent to quotation mark:. Superiors, inferiors, fractions. Fonts often have more superscripts and subscripts than are defined in Unicode, but where a Unicode superior or inferior exists, use it instead of SUB or SUP markup.

Math is a separate discussion. It always is. The small number of Unicode characters for vulgar fractions should be used in all cases. There is no reliable method in HTML and CSS to construct fractions from superiors and inferiors and fraction slash , nor a method to create stacked fractions. In uncommon cases, section breaks like these occur right at the bottom of a printed page and have to be inferred.

Nonetheless, you are still merely suggesting that sections have changed; what you are not doing is definitively encapsulating sections in their own markup. Footnotes and endnotes. HTML continues to lack structures for these, for sidenotes, and for callouts like pullquotes. Footnotes have to become endnotes, which is troublesome at best for an E-book that already includes endnotes.

Over and over again, tables are held up as something E-books pretty much cannot do. Horrendously complex tables can be marked up in HTML.

Experimenting with the form of the book is one thing, but E-book structure is not something we should make up as we go along. E-books break the page numbers and the topic was not discussed. I saw no good solution yet to that issue. How can we get rid of the page numbers for a human? Should we get rid of the page numbers? Page numbers are tied to a certain fixed page size.

So if page numbers were to stay, they would have to be re-generated on the fly. Also, having page numbers allows one to refer to them. Even for print books, such a reference has to be disambiguated with a specific print. Page numbers are meaningless. Instead, we should refer to chapters, sections, subsections, paragraphs and sentences; and, for well-structured text, to anchors.

More Than a Website in a Box

The concept of standard is very away from editorial production logic. And many printed books have complex layout, like school books or manuals.

The production of contents is not linear, and dont rely to Word or other tools. And also working in a clean manner with Indesign result is a bet. And also if code is valid, is necessary verify all because images flow around, or at bottom of document. So, this approach work only with simple design, linear text and few or no one image.

ARE there any as to resolution, pixel dimension, screen ratios, format, etc.? Do standard web screen resolutions apply for teeny-tiny viewing screens? It appeared to have been produced by InDesign implying some degree of manual work and even embedded a font which contain glyphs for all of the unusual characters used.

Epub provides a method to map the specific page numbers so that the e-book page numbers will correspond to print page numbers see here: Page numbers are not meaningless — they have a definite use in citing references, which is important for any type of scholarly work. An index or table of contents has to use hyperlinks, not page numbers.

I assure you that a search function is not one-tenth as useful.

However, for alternate formats that are meant to be a conceptual duplicate of a printed book, you do need to encode page numbers somehow. The standard example is books for the blind. A printed page made for a reader with no relevant disabilities is a random-access medium. You can look anywhere you want and read anything you want in any order, or just put the book on the floor and admire a double-page spread.

Do the contents, when read start to finish, make sense?

Making Better Ebooks

In InDesign, proper threading order of text frames results in e. It is true that the designer must make a decision as to when the reader is to experience a callout or a sidebar. My experience is this is only occasionally a real cause for debate. The same applies to actual E-books. You need a logical reading order. Not every aspect of print graphic design can be duplicated in electronic document design, which relies fundamentally on structure, not inferences drawn from appearance.

Seems like that should be handled by the rules engine that proofs the manuscript for well-formedness. I much prefer justified text, and lament its absence on most websites. Things just look cleaner when that right margin is aligned. This would be where a language like DTBook would give them much better control of the structural elements, which ultimately will give the reading system eReader better control over how to display that text.

Personally I think we should be playing-up the importance of DTBook. To wrap up;.

The big publishers, who will need to use mashups, extracts, etc. Just in case anyone thinks this might be a central cache of house styles, the values defined in the classes often change from book to book, usually with extra styles tacked on at the end with their own cryptic name. In one case a 34kB core repository of hermetic mystery is helped along the way by another separate css files, 3 for each chapter, and most of which are empty. To be fair, RH UK does seem to have avoided the blight and produce tailored styles.

Each book deserves to be crafted with the same care. Develop a house-style and stick to it. Import only the styles you need and add new styles only when needed. Check it on the desktop version of ADE and check it on an actual reader. Here are a few:. I think we should try and support pages, if only to make references from print map onto our ebooks.

But Keith of ThreePress says that no reading systems he knows of support the standards-compliant method. I would be very interested in discussions of different approaches here.

Endless divs and spans with unique ids? We need this also as a base to support annotations. Everyone Adobe, Stanza, Ibis, Apple seems to be introducing proprietary solutions for annotations, in some flavor of XML that gets written into a file and added to the epub manifest? Only print can provide against the insults of centrally-controlled DRM, ease of changing digital files, etc. Records which can, like print books, acquire their own histories.

I find this article truly bizarre. Mr Clark is clearly in ecstasies over the fact that ePub format that has been adopted for delivery of most ebooks is based on XHTML, but singularly fails to explain why. He assumes that because HTML and the failed XHTML are web standards then it is automatically a good thing that they should be used for web books, even though he admits that they are not designed for and lack the constructs to properly display books on the web.

No, neither would I, I would profit from the fifteen years experience and wipe the slate clean and construct new and better standards Java v. C anyone? But a triumph for the W3C? Get a grip. And from the sublime discussion of web standards the article equally bizarrely descends to the level of presentation of em dashes. Go back and reread the entire article, making sure to follow any link that even remotely seems to be discussing the limitations of HTML.

Peter Schoppert, I have come to believe that page numbers in E-books make sense only if the format actually is meant as a copy of a printed book, viz an alternate format for a blind user. Otherwise page numbers are a mere skiamorph. Nonetheless, the problem of a defined structure for annotations is real and rather pressing for production workflow. Why else are people addicted to the methadone of MS Word?

But the day is coming. And this throws a different cast on what e-books can be — which, in your article, assumes a strictly onscreen display. Some thoughts: Each can have its own stylesheet. One does not preclude the other. Whitney Quesenbery is a co-author of two influential Brennan Center reports that show just how much design matters in elections. She managed an EAC grant for accessible voting technology that brought together researchers and election officials in a dozen projects, including the influential Anywhere Ballot and an OpenIDEO design challenge.

Before she was seduced by a little beige computer into software, usability, and interface design, Whitney was a theatrical lighting designer on and off Broadway, learning about storytelling from some of the masters.

I know both authors, and it would be hard to say which of them knows more about accessibility. Make no mistake: In plain language, there is one word for this book—terrific! If you have experienced the road to web accessibility as a labyrinthian and mystifying journey, this book will illuminate and smooth the way.

Whitney and Sarah use concepts familiar to most web professionals and apply them to accessibility in a practical context that will improve user experience for all. By bridging the gap between accessibility and UX, this book has the potential to help accessibility grow into the mainstream: Thank you, Sarah and Whitney, for finally bringing it to life!

If you want to be part of building the accessible web, this really is the book that brings it all together. Mobile is proving once again what accessibility advocates knew all along—designing for universal access is a smart business decision. The same accessibility principles that make your website work for everyone will also help your website work well with all devices, screen sizes, and input mechanisms. There is something here for everyone—from the novice to the experienced practitioner—who wants to make a web for everyone.

In fact, all UX designers and managers, web or not, will find value in this impeccably structured, beautifully written resource. User personas communicate concretely about the diversity of human abilities and tie the material together. The key chapters end with first-person visits with the people who shaped the ideas, like Ginny Redish and Ben Shneiderman. This comprehensive playbook provides a user-centered view of how not only to design for those with diverse needs, but also to ultimately reach everyone more effectively.

By just applying even a fraction of the design principles in this book, you could not only widen your audience to new members, but also deepen the engagement of your existing user base. Designing to be inclusive is a true win-win: Sarah and Whitney present accessibility so that everyone can understand the core concepts of web accessibility, even if they have limited programming experience. Every web developer who is just starting to get involved with web accessibility should purchase this book!

Designing Accessible User Experiences. You can find longer answers to each in your copy of the book, either printed or digital version. In Chapters 3 through 10, we identify both who has the primary responsibility for each aspect of accessibility and how all the other roles support it.

How big an issue is accessibility anyway? The U. Census Bureau says that over 47 million Americans have a disability of some kind.

Responsible Responsive Design

The UN and the World Bank say this adds up to million people worldwide. At some point in our lives, disability will affect most of us, no matter who we are, especially as we get older. Working to standards and responsive design are both important criteria for accessibility.

One way to think about accessibility is that assistive technologies, such as screen readers and alternate keyboards, are just another kind of device. When a site is designed to be flexible, it works better on all devices. Chapter 4 covers how to support accessibility with a solid structure. Accessible UX goes further, to be responsive to differences in people as well as devices. Is content part of accessibility? It sure is! There are many reasons why people have trouble reading: But even skilled readers can have problems when they are rushed, tired, stressed, or reading on a small screen.

A Book Apart

Accessible content is written in plain language Chapter 8 and presented clearly and flexibly Chapter 7. WCAG 2. That means it was created with input from people around the world and reflects the best international consensus. Section is a national regulation in the United States. Other countries and the EU have their own laws and regulations. If your product is covered by a specific regulation, of course you must meet its requirements. But if you are thinking about accessibility for other reasons, WCAG 2.

The good news is that most standards are very similar. The even better news is that the U. Using the accessible UX principles and guidelines, you can create websites and web applications that work for everyone—including people with disabilities. Personas Personas combine research data from many sources into a fictional but realistic character. They are a great way to make sure your team considers all the different people who are served by innovative, accessible, universal design.

The personas are introduced in Chapter 2-People First, and used throughout the book to add stories to the examples and guidelines. Profiles with industry leaders Each of the chapters in the book includes a profile of someone whose work inspired us.

Over the next several months, we will post full versions of these interviews, adding material that did not fit into the printed book. These podcasts are aimed at answering specific questions so you can be more comfortable and skilled at accessibility.Insightful, witty and practical, Responsive Web Design points us in the direction of a new web.

They are very different beasts, although, at first, it is difficult to tell them apart because they do look similar. I was sheltered. The simple answer is that we are all responsible for making our part of a project accessible.

Thanks for the article. The challenges are clear image descriptions, tables , EPUB 2 still in use etc and the group of people that they drew together in January are a stellar selection of top minds who are enthused and passionate about moving forward.

Popular topics: E-book hyphenation should be carried out by computer algorithms and dictionaries. Most can get by with a tiny range of tags:.

JUDIE from Merced
Please check my other articles. I absolutely love field lacrosse. I am fond of exploring ePub and PDF books justly.