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August 20, 2011

just when i THOUGHT i understood CSS Cascading...

They went in single file, running like hounds on a strong scent, and an eager light was in their eyes

They went in single file, running like hounds on a strong scent, and an eager light was in their eyes

Higher still and higher From the earth thou Springsteen Like a cloud of fire; The blue deep thou ingest, And singing still dost soar, and soaring ever ingestion of coffee consumed by each senator

John said, I saw Lucy at lunch, she told me Mary wants you to get some ice cream on your way home. I think I will get some at Ben and Jerry's, on Gloucester Road.

IT'S ART! Lydia's Liquid Lunch! + Roberto Malone is my HERO!
They went in single file, running like hounds on a strong scent, and an eager light was in their eyes--
bruised and blackened as they passed

IT'S ART! Lydia's Liquid Lunch! + Roberto Malone is my HERO!

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They went in single file, running like hounds on a strong scent, and an eager light was in their eyes They went in single file, running like hounds on a strong scent, and an eager light was in their eyes Higher still and higher From the earth thou Springsteen Like a cloud of fire; The blue deep thou ...»See Ya

August 19, 2011

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Dogmeat Official Custom Search Engine All facebook +searching video OR YouTube -filed+under clipped from Google - 8/2011 clipped from Google - 8/2011 clipped from Google - 8/2011 clipped from Google - 8/2011 clipped from Google - 8/2011 ...»See Ya

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    Beatles are such Dingbats!

    This text should not be bold.

    This line should be green.

    Example of a hyperlink to the CSS home page with special one-off visited and hover effects.

    Gender symbols and the Sekushii font
    December 27, 2002



    Gender symbol fonts


    ¶ I was struck by the lack of complete fonts with gender symbols. The TeX/Metafont community lives with Denis Roegel's Genealogy font, created in 1996 and updated in 1999. Denis Roegel essentially compiled the genealogical symbols found in Roland Waldi's Wasy font (1992), which has a male and female symbol set, and Knuth's "gen" font, and added the standard symbols for males and females.

    ¶ The truetype world probably is most acquainted with Marvin Vogel's useful (and free!) symbol font Marvosym, which contains symbols for sexless, male, female and hermaphrodite. Marvin recognizes that there are other people in this world besides straight males or females, but the symbol he suggests for hermaphrodites is not the one used by or suggested by the world of sex experts [read on below]. Curtis Clark made the free font called Female and Male Symbols (1996), which contains the same gender symbols as Marvosym.

    ¶ WordPerfect's WP IconicSymbolsA (1993) just has a male and a female symbol.

    ¶ There are, of course, a number of commercial outfits that have the standard pair of gender symbols in some of their fonts. Particularly artistic are P22's Koch Signs 3 and Koch Signs 4. Whether by design or accident, these also have a glyph for hermaphrodites. An even more complete set is Ann's Astro family of fonts from Dingbatcave (Ann Stretton), at 10 dollars per style.

    Unicode has reserved position 9792 for the female sign, and 9794 for the male sign. Nothing is reserved for the others. Some Unicode fonts indeed do have these two characters. However, no Unicode font has more than this bare minimum, and thus, the Unicode path is a cul-de-sac.

    ¶ So, that is the current state of affairs. The world's gay community started using their own symbols, derived from those for male (the symbol for Mars) and female (the symbol for Venus). But, not to be left out, the bisexuals, both male and female by birth, suggested their own glyphs. Outnumbered but not outgunned, the hermaphrodites picked their own symbol, that of Mercury. But it does not end there. The transexuals do not fit into any of the above categories, so they have their own symbols. Transgendered people are usually defined as those who are aware of all people of all sexual orientations and preferences, and approach relationships in a gender-free manner. Well, they have their own symbol. I never located the symbol for eunuchs, but I am sure there must be one. Of course, the combinations multiply. However, I refuse to create symbols for gay hermaphrodites, transsexuals who like eunuchs, and males who had two sex change operations (to get back to where they started from).

    ¶ If you have a special request though, send it to me, and I will see if I can make a font for you. Always for free, of course.

    The symbols

    ¶ The ultimate place for symbols is the highly recommended site Symbols.com. For definitions of transsexual, transgender, bisexual, and other terms, see here. Some symbols are shown here. Official books always lag behind, so I went looking for what people actually use to represent different sexual orientations, preferences and situations. At present, the world seems to agree on the following symbols:

    http://cg.scs.carleton.ca/~luc/Tamagosanbig.gif

    Mars, or Tuesday: symbol for males.

    Venus, or Friday: symbol for females.

    Gay males.

    Gay males.

    Lesbians.

    Aware of the joint cause of gays and lesbians. Also (sometimes) transsexuals. Also, quite universally in science, used for hermaphrodites. See here. Symbol.com states that it is used in botany for double-sexed plants. Also, (sometimes) heterosexuals in general. See here or here.

    Bisexuals. Sometimes used for people fighting for gay and lesbian rights.

    Transgender. See here.

    Another symbol for transgender: see here.

    Bisexuals.

    Bisexuals, as proposed here. Closely related in some places to the symbol for bisexual men.

    Bisexual men.

    Bisexual women.

    Mercury, or Wednesday: Hermaphrodites. See here. The Greek equivalent of Mercury is Hermes, hence the name. Apparently, biologists use this for hermphrodites.


    The Sekushii font

    ¶ The Sekushii font is part of the Sugaku series. It has all the symbols above, in many sets, both light and medium weight. There are straight-arrowed sets for combining with sans serif text, flared arrows for serif text, and fun experiments and extensions with various sexual undertones. And, it is free! Have a ball.

  • PFA file
  • PFB file
  • AFM file
  • PFM file
  • TFM file
  • TTF file
  • ZIP file




  • Copyright © 2002 Luc Devroye
    School of Computer Science
    McGill University
    Montreal, Canada H3A 2K6
    luc@cs.mcgill.ca
    http://cg.scs.carleton.ca/~luc/index.html


    http://www.dafont.com/img/charmap/j/a/jamon_del_mar0.png
    3. Grammar The syntax of the CSS fragment that is allowed in the HTML "style" attribute can be formally specified as follows: inline-stylesheet : S* [ declarations | declarations-block | inline-ruleset* | stylesheet ] ; declarations : declaration [ ';' S* declaration ]* ; declarations-block : '{' S* declarations '}' S* ; inline-ruleset : [ pseudo* S* [ ',' S* pseudo* S* ]* ]? declarations-block ; Please refer to the grammar in appendix D of the CSS2 specification [CSS2] for the definition of the symbols not defined here. The same rules for forward-compatible parsing apply to the inline style sheet as to a normal style sheet. See chapter 4 of the CSS2 specification. 4. Cascading order CSS already defines how style sheets and "style" attributes are cascaded together for the case where the inline fragment consists of declarations only. In addition to simple declarations, the style attribute is now permitted to take rulesets. These rules have the additive specificity of their selectors in addition to the specificity of the style attribute. The examples indicate what is added to each of the specificity components using the familiar '+=' notation. Example:

    This is an example of a paragraph with inline style attribute rules to create a spot effect, in this case, a drop-cap first letter.

    Example: Example of a hyperlink to the CSS home page with special one-off visited and hover effects.

    This text should not be bold.

    This line should be green.

    1. History HTML 4.0 introduced the "style" attribute, whose contents could contain any styling language (through the use of META http-equiv Content-Style-Type), but by default, and in practice, has only contained CSS. XHTML Modularization introduced the Style Attribute Module which also has a "style" attribute whose semantics are the same as that in HTML 4. SVG also has a language neutral "style" attribute, whose language is specified with the contentStyleType attribute which has the default value of "text/css". MathML states that all MathML elements accept the "style" attribute to facilitate compatibility with CSS. Not all XML-based document formats have a "style" attribute to permit the user to use CSS to style documents and specific elements in documents, but in case a certain format has a "style" attribute and the attribute accepts CSS as its value, then this specification describes the attribute's syntax and interpretation. 2. Examples Here are a few examples: Only setting properties on the element itself, no pseudo-elements or pseudo-classes:

    ...

    Setting properties on the element, as well as on the first letter of the element, by means of the '::first-letter' pseudo-element. Note that curly braces ({...}) are required in this case:

    ...

    Setting properties on a source anchor for each of its dynamic states, using pseudo-classes: ... Importing a style sheet to apply as a scoped style sheet: Note: in CSS1 and CSS2, the spelling of '::first-letter' and '::first-line' is ':first-letter' and ':first-line' respectively, i.e., with a single colon, but Selectors recommends using double colons for pseudo-elements. This document defines both the simple case (only properties on the element itself, example 1), as well as more complex cases such as rules that apply only to the element (e.g. properties on the element's pseudo-elements and pseudo-classes, examples 2 and 3), and scoped style sheets (the use of @import which apples the referenced style sheet to the subdocument consisting of the element and its children with the element as the root, example 4). 3. Grammar The syntax of the CSS fragment that is allowed in the HTML "style" attribute can be formally specified as follows: inline-stylesheet : S* [ declarations | declarations-block | inline-ruleset* | stylesheet ] ; declarations : declaration [ ';' S* declaration ]* ; declarations-block : '{' S* declarations '}' S* ; inline-ruleset : [ pseudo* S* [ ',' S* pseudo* S* ]* ]? declarations-block ; Please refer to the grammar in appendix D of the CSS2 specification [CSS2] for the definition of the symbols not defined here. The same rules for forward-compatible parsing apply to the inline style sheet as to a normal style sheet. See chapter 4 of the CSS2 specification. 4. Cascading order CSS already defines how style sheets and "style" attributes are cascaded together for the case where the inline fragment consists of declarations only. In addition to simple declarations, the style attribute is now permitted to take rulesets. These rules have the additive specificity of their selectors in addition to the specificity of the style attribute. The examples indicate what is added to each of the specificity components using the familiar '+=' notation. Example:

    This is an example of a paragraph with inline style attribute rules to create a spot effect, in this case, a drop-cap first letter.

    Example:

    Hypertext Markup Language

    Test passes if there is no space between the green and blue boxes below.

    15x15 blue box 15x15 green box
    Writing Test Cases for Web Browsers This is a guide to making test cases for Web browsers, for example making test cases to show HTML, CSS, SVG, DOM, or JS bugs. There are always exceptions to all the rules when making test cases. The most important thing is to show the bug without distractions. This isn't something that can be done just by following some steps, you have to be intelligent about it. Minimising existing testcases STEP ONE: FINDING A BUG The first step to making a testcase is finding a bug in the first place. There are four ways of doing this: 1. Letting someone else do it for you: Most of the time, the testcases you write will be for bugs that other people have filed. In those cases, you will typically have a Web page which renders incorrectly, either a demo page or an actual Web site. However, it is also possible that the bug report will have no problem page listed, just a problem description. 2. Alternatively, you can find a bug yourself while browsing the Web. In such cases, you will have a Web site that renders incorrectly. 3. You could also find the bug because one of the existing testcases fails. In this case, you have a Web page that renders incorrectly. 4. Finally, the bug may be hypothetical: you might be writing a test suite for a feature without knowing if the feature is broken or not, with the intention of finding bugs in the implementation of that feature. In this case you do not have a Web page, just an idea of what a problem could be. If you have a Web page showing a problem, move to the next step. Otherwise, you will have to create an initial testcase yourself. This is covered on the section on "Creating testcases from scratch" later. STEP TWO: REMOVING DEPENDENCIES You have a page that renders incorrectly. Make a copy of this page and all the files it uses, and update the links so they all point to the copies you made of the files. Make sure that it still renders incorrectly in the same way -- if it doesn't, find out why not. Make your copy of the original files as close to possible as the original environment, as close as needed to reproduce the bug. For example, instead of loading the files locally, put the files on a remote server and try it from there. Make sure the MIME types are the same if they need to be, etc. Once you have your page and its dependencies all set up and still showing the same problem, embed the dependencies one by one. For example, change markup like this: <link rel="stylesheet" href="foo.css"> ...to this: <style type="text/css"> /* contents of foo.css */ </style> Each time you do this, check that you haven't broken any relative URIs and that the page still shows the problem. If the page stops showing the problem, you either made a mistake when embedding the external files, or you found a bug specifically related to the way that particular file was linked. Move on to the next file. STEP THREE: MAKING THE TEST FILE SMALLER Once you have put as many of the external dependencies into the test file as you can, start cutting the file down. Go to the middle of the file. Delete everything from the middle of the file to the end. (Don't pay attention to whether the file is still valid or not.) Check that the error still occurs. If it doesn't, put that part pack, and remove the top half instead, or a smaller part. Continue in this vein until you have removed almost all the file and are left with 20 or fewer lines of markup, or at least, the smallest amount that you need to reproduce the problem. Now, start being intelligent. Look at the file. Remove bits that clearly will have no effect on the bug. For example if the bug is that the text "investments are good" is red but should be green, replace the text with just "test" and check it is still the wrong colour. Remove any scripts. If the scripts are needed, try doing what the scripts do then removing them -- for example, replace this: <script>document.write('<p>test<\/p>')</script>; ..with: <p>test</p> ...and check that the bug still occurs. Merge any <style> blocks together. Change presentational markup for CSS. For example, change this: <font color="red"> ...to: span { color: red; } /* in the stylesheet */ <span> <!-- in the markup --> Do the same with style="" attributes (remove the attributes, but it in a <style> block instead). Remove any classes, and use element names instead. For example: .a { color: red; } .b { color: green; } <div class="a"><p class="b">This should be green.</p></div> ...becomes: div { color: red; } p { color: green; } <div><p>This should be green.</p></div> Do the same with IDs. Make sure there is a strict mode DOCTYPE: <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN"> Remove any <meta> elements. Remove any "lang" attributes or anything that isn't needed to show the bug. If you have images, replace them with very simple images, e.g.: http://hixie.ch/resources/images/sample If there is script that is required, remove as many functions as possible, merge functions together, put them inline instead of in functions. STEP FOUR: GIVE THE TEST AN OBVIOUS PASS CONDITION The final step is to make sure that the test can be used quickly. It must be possible to look at a test and determine if it has passed or failed within about 2 seconds. There are many tricks to do this, which are covered in other documents such as the CSS2.1 Test Case Authoring Guidelines: http://www.w3.org/Style/CSS/Test/guidelines.html Make sure your test looks like it has failed even if no script runs or anything. Make sure the test doesn't look blank if it fails. Creating testcases from scratch STEP ONE: FIND SOMETHING TO TEST Read the relevant specification. Read it again. Read it again, making sure you read every last bit of it, cover to cover. Read it one more time, this time checking all the cross-references. Read the specification in random order, making sure you understand every last bit of it. Now, find a bit you think is likely to be implemented wrongly. Work out a way in which a page could be created so that if the browser gets it right, the page will look like the test has passed, and if the browser gets it wrong, the page will look like it failed. Write that page. Now jump to step four above.

    This text should not be bold. This line should be green. Example of a hyperlink to the CSS home page with special one-off visited and hover effects. The Sekushii font ¶ The Sekushii font is part of the Sugaku series . It has all the symbols above, in many sets, both light and medium weight. There ar ...»See Ya

    Tamagosanbig

    August 17, 2011

    Pierre de Fermat (Born Too Lose)


    ****** ***** *** Pierre de Fermat *** ***** ***** ***

    Born August 17, 1601 Beaumont-de-Lomagne, France Died January 12, 1665 (aged 63) Castres, France Residence France Nationality French Fields Mathematics and Law Known for Number theory Analytic geometry Fermat's principle Probability Fermat's Last Theorem Influences François Viète

    * *** **** ******* * Pierre de Fermat * ***** ********* * French pronunciation: [pjɛːʁ dəfɛʁˈma]; 17[1] August 1601 or 1607/8[2] – 12 January 1665) was a French lawyer at the Parlement of Toulouse, France, and an amateur mathematician who is given credit for early developments that led to infinitesimal calculus, including his adequality.

    In particular, he is recognized for his discovery of an original method of finding the greatest and the smallest ordinates of curved lines, which is analogous to that of the then unknown differential calculus, and his research into number theory. He made notable contributions to analytic geometry, probability, and optics. He is best known for Fermat's Last Theorem, which he described in a note at the margin of a copy of Diophantus' Arithmetica. Contents 1 Life and work 1.1 Work 1.2 Death 2 Assessment of his work 3 See also 4 Notes 4.1 Books referenced 5 Further reading 6 External links Life and work Fermat was born in Beaumont-de-Lomagne, Tarn-et-Garonne, France; the late 15th century mansion where Fermat was born is now a museum. He was of Basque origin. Fermat's father was a wealthy leather merchant and second consul of Beaumont-de-Lomagne. Pierre had a brother and two sisters and was almost certainly brought up in the town of his birth. There is little evidence concerning his school education, but it may have been at the local Franciscan monastery. Bust in the Salle des Illustres in Capitole de Toulouse He attended the University of Toulouse before moving to Bordeaux in the second half of the 1620s. In Bordeaux he began his first serious mathematical researches and in 1629 he gave a copy of his restoration of Apollonius's De Locis Planis to one of the mathematicians there. Certainly in Bordeaux he was in contact with Beaugrand and during this time he produced important work on maxima and minima which he gave to Étienne d'Espagnet who clearly shared mathematical interests with Fermat. There he became much influenced by the work of François Viète. From Bordeaux, Fermat went to Orléans where he studied law at the University. He received a degree in civil law before, in 1631, receiving the title of councillor at the High Court of Judicature in Toulouse, which he held for the rest of his life. Due to the office he now held he became entitled to change his name from Pierre Fermat to Pierre de Fermat. Fluent in Latin, Basque[citation needed], classical Greek, Italian, and Spanish, Fermat was praised for his written verse in several languages, and his advice was eagerly sought regarding the emendation of Greek texts. He communicated most of his work in letters to friends, often with little or no proof of his theorems. This allowed him to preserve his status as an "amateur" while gaining the recognition he desired. This naturally led to priority disputes with contemporaries such as Descartes and Wallis. He developed a close relationship with Blaise Pascal.[3] Anders Hald writes that, "The basis of Fermat's mathematics was the classical Greek treatises combined with Vieta's new algebraic methods."[4] Work Fermat's pioneering work in analytic geometry was circulated in manuscript form in 1636, predating the publication of Descartes' famous La géométrie. This manuscript was published posthumously in 1679 in "Varia opera mathematica", as Ad Locos Planos et Solidos Isagoge, ("Introduction to Plane and Solid Loci").[5] In Methodus ad disquirendam maximam et minima and in De tangentibus linearum curvarum, Fermat developed a method for determining maxima, minima, and tangents to various curves that was equivalent to differentiation.[6] In these works, Fermat obtained a technique for finding the centers of gravity of various plane and solid figures, which led to his further work in quadrature. Pierre de Fermat Fermat was the first person known to have evaluated the integral of general power functions. Using an ingenious trick, he was able to reduce this evaluation to the sum of geometric series.[7] The resulting formula was helpful to Newton, and then Leibniz, when they independently developed the fundamental theorem of calculus.[citation needed] In number theory, Fermat studied Pell's equation, perfect numbers, amicable numbers and what would later become Fermat numbers. It was while researching perfect numbers that he discovered the little theorem. He invented a factorization method—Fermat's factorization method—as well as the proof technique of infinite descent, which he used to prove Fermat's Last Theorem for the case n = 4. Fermat developed the two-square theorem, and the polygonal number theorem, which states that each number is a sum of three triangular numbers, four square numbers, five pentagonal numbers, and so on. Although Fermat claimed to have proved all his arithmetic theorems, few records of his proofs have survived. Many mathematicians, including Gauss, doubted several of his claims, especially given the difficulty of some of the problems and the limited mathematical tools available to Fermat. His famous Last Theorem was first discovered by his son in the margin on his father's copy of an edition of Diophantus, and included the statement that the margin was too small to include the proof. He had not bothered to inform even Marin Mersenne of it. It was not proved until 1994, using techniques unavailable to Fermat. Although he carefully studied, and drew inspiration from Diophantus, Fermat began a different tradition. Diophantus was content to find a single solution to his equations, even if it were an undesired fractional one. Fermat was interested only in integer solutions to his Diophantine equations, and he looked for all possible general solutions. He often proved that certain equations had no solution, which usually baffled his contemporaries. Through his correspondence with Pascal in 1654, Fermat and Pascal helped lay the fundamental groundwork for the theory of probability. From this brief but productive collaboration on the problem of points, they are now regarded as joint founders of probability theory.[8] Fermat is credited with carrying out the first ever rigorous probability calculation. In it, he was asked by a professional gambler why if he bet on rolling at least one six in four throws of a die he won in the long term, whereas betting on throwing at least one double-six in 24 throws of two dice resulted in him losing. Fermat subsequently proved why this was the case mathematically.[9] Fermat's principle of least time (which he used to derive Snell's law in 1657) was the first variational principle[10] enunciated in physics since Hero of Alexandria described a principle of least distance in the first century CE. In this way, Fermat is recognized as a key figure in the historical development of the fundamental principle of least action in physics. The term Fermat functional was named in recognition of this role.[11] Death Plaque at the place of burial of Pierre de Fermat Place of burial of Pierre de Fermat in Place Jean Jaurés, Castres, France. Translation of the plaque: in this place was buried on January 13, 1665, Pierre de Fermat, councilor of the chamber of Edit and mathematician of great renown, celebrated for his theorem (sic), an + bn ≠ cn for n&gt;2 He died at Castres, Tarn.[2] The oldest, and most prestigious, high school in Toulouse is named after him: the Lycée Pierre de Fermat. French sculptor Théophile Barrau made a marble statue named Hommage à Pierre Fermat as tribute to Fermat, now at the Capitole of Toulouse. Assessment of his work Holographic will handwritten by Fermat on 4 March 1660 — kept at the Departmental Archives of Haute-Garonne, in Toulouse Together with René Descartes, Fermat was one of the two leading mathematicians of the first half of the 17th century. According to Peter L. Bernstein, in his book Against the Gods, Fermat "was a mathematician of rare power. He was an independent inventor of analytic geometry, he contributed to the early development of calculus, he did research on the weight of the earth, and he worked on light refraction and optics. In the course of what turned out to be an extended correspondence with Pascal, he made a significant contribution to the theory of probability. But Fermat's crowning achievement was in the theory of numbers."[12] Regarding Fermat's work in analysis, Isaac Newton wrote that his own early ideas about calculus came directly from "Fermat's way of drawing tangents."[13] Of Fermat's number theoretic work, the great 20th-century mathematician André Weil wrote that "... what we possess of his methods for dealing with curves of genus 1 is remarkably coherent; it is still the foundation for the modern theory of such curves. It naturally falls into two parts; the first one ... may conveniently be termed a method of ascent, in contrast with the descent which is rightly regarded as Fermat's own."[14] Regarding Fermat's use of ascent, Weil continued "The novelty consisted in the vastly extended use which Fermat made of it, giving him at least a partial equivalent of what we would obtain by the systematic use of the group theoretical properties of the rational points on a standard cubic."[15] With his gift for number relations and his ability to find proofs for many of his theorems, Fermat essentially created the modern theory of numbers. See also Diagonal form Euler's theorem Fermat cubic Fermat Prize Fermat pseudoprime Fermat quotient Fermat's spiral Fermat's theorem (stationary points) dogmeat

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    Quick Tip: Ever Thought About Using @Font-face for Icons?

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    Quick Tip: Ever Thought About Using @Font-face for Icons?

    Wayne Helman on Apr 23rd 2010 with 116 comments
    Tutorial Details
    • Technology: CSS
    • Estimated Completion Time: 15 Minutes
    • Difficulty: Beginner

    This entry is part 11 of 16 in the CSS3 Mastery Session - Show All
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    The evolution of Internet technologies never ceases to amaze. Seemingly daily, new concepts and techniques are being thought up by creative and talented people. With modern browsers being adopted at a greater rate, systems like CSS3 are becoming more and more viable for use on projects of all sizes. Clearly, this can be seen by looking at new services sprouting on-line like TypeKit. Conceptually, if we deconstruct a font down to it’s basic elements, we can make use of this technology for things other than type, icons.

     


    The Need for Speed

    For a short period of time, developers began producing websites with little regard for bandwidth consumption. HTML and CSS where restrictive and Adobe Flash was an open canvas for designers and developers to stuff animations and complex layouts into. This resulted in some extremely bandwidth heavy sites—we all remember a few. Those were the days before the proliferation of mobile smart phones.

    With smart phones accessing the Internet more frequently, bandwidth and page load speeds have suddenly returned to the forefront. Thankfully, advances in HTML, CSS, and JavaScript have made that all possible. Central to webpage speed and responsiveness is the number of HTTP requests a page load must make. Modern browsers limit the number of requests to a single server. The W3C HTTP 1.1 specification reads

    “A single-user client SHOULD NOT maintain more than 2 connections with any server or proxy. A proxy SHOULD use up to 2*N connections to another server or proxy, where N is the number of simultaneously active users. These guidelines are intended to improve HTTP response times and avoid congestion.”

    One technique that has become increasingly popular is the use of CSS sprites. CSS sprites are designed to reduce the number of HTTP requests to the web server by combining many smaller images into a single larger image and defining a block level CSS element to only show a defined portion of the larger image. The technique is simple, but ingenious.


    Deconstructing the Font

    Fonts at their most basic molecular level are a series of vector glyphs packaged up into a single “glyph archive”.

    CSS3 has introduced to the web development world the ability to embed fonts with the @face-face declaration. Without question, this advancement in Internet technologies is one of the most exciting and important stages in our brief history. With developers able to embed fonts of their choice, designers can produce layouts that will render far more consistently from platform to platform bringing the art of interactive layout closer to it’s print cousin.

    If we take a closer look at the technology behind a font, we can gain a far better understanding of how they can be used and deployed. Fonts at their most basic molecular level are a series of vector glyphs packaged up into a single “glyph archive”. We can then reference each glyph by its corresponding character code. Theoretically, it’s very similar to the way in which we reference an array in almost any programming language—through a key/value pair.

    With this in mind, the glyphs we reference can really be any vector-based single color image. This is nothing new—we’ve all seen Dingbats and Webdings. They are two examples of non-type fonts, that is, a series of vector based images compiled into a single font archive.


    Abstracting and Expanding @font-face

    With the advent of font embedding and the realization that fonts are essentially a series of simple vector glyphs, I began to experiment on how to use this format to my advantage. Conceptually, if I placed all required icons for a particular site into a custom font, I would then be able to use those icons anywhere on the site with the ability to change size and color, add backgrounds, shadows and rotation, and just about anything else CSS will allow for text. The added advantage being a single CSS sprite-like HTTP request.

    To illustrate, I’ve compiled a new font with a few of the great icons from Brightmix.

    Sample glyph chart

    I’ve used the lower case slots for plain icons, and the uppercase slots for the same icon in a circular treatment.

    To use my new Icon Pack, I’ll first have to export my font set as a number of different font files (.eot, .woff, .ttf, .svg) to be compatible with all browsers. The topic of font embedding and file format converting is covered elsewhere, so I will avoid a detailed explanation here. However, the CSS would look something like this.

    1. @font-face {  
    2.   font-family'IconPack';  
    3.   srcurl('iconpack.eot');  
    4.   srclocal('IconPack'),  
    5.     url('iconpack.woff'format('woff'),  
    6.     url('iconpack.ttf'format('truetype'),  
    7.     url('iconpack.svg#IconPack'format('svg');  
    8. }  
    @font-face { font-family: 'IconPack'; src: url('iconpack.eot'); src: local('IconPack'), url('iconpack.woff') format('woff'), url('iconpack.ttf') format('truetype'), url('iconpack.svg#IconPack') format('svg'); }

    Once embedded, I now have a complete icon set in vector format to reference. To reference an icon I simply need a style that includes the font-family of “IconPack”.

    image alt tag

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    Dogmeat Page

    Posted: 16 Aug 2011 06:38 AM PDT

     

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    Hi Gaejang,
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    Learn more about how to update via mobile

     

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    Thanks,
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