css
What do I need to read to be great at CSS?
100 Bytes of CSS to look great everywhere
Changing Our Development Mindset
So many little design helper sites!
Whostyles
A Definition by Kicks CondorThe 'whostyle' is a way of styling syndicated hypertext from other writers. This could be a quoted excerpt or a complete article. A feed reader could use a 'whostyle' to show a post without stripping all of its layout.
This page is a truly naked, brutalist html quine
An Article by Leon BambrickI decided to make a truly naked, brutalist html page, that is itself a quine. And this page is it.
Viewing the source of this page should reveal a page identical to the page you are now seeing. Nothing is hidden. It's a true "What you see is what you get."
this vs. that
A Website by Phuoc NguyenAn Interactive Guide to CSS Transitions
A Reference Work by Josh W. ComeauIn this tutorial, we'll dig in and learn a bit more about CSS transitions, and how we can use them to create lush, polished animations.
CSS at the Intersection
A TalkThroughout the talk I discuss the mental models we construct in tech, the cognitive dissonance we experience when confronted with new ideas, specifically about CSS.
We know CSS has a separate mental model because we keep hearing the same debate rage on: “Is CSS broken or awesome?” This talk is about enabling teams to communicate and accommodate these different mental models. I share examples of effective tools, and how they change the way designers and developers interact.
The Great Divide
An Article by Chris CoyierOn one side, an army of developers whose interests, responsibilities, and skill sets are heavily revolved around JavaScript.
On the other, an army of developers whose interests, responsibilities, and skill sets are focused on other areas of the front end, like HTML, CSS, design, interaction, patterns, accessibility, etc.
The signature
It has long been understood that striving for originality as an end in itself is the mark of an inferior artist. The personal style of a good artist is never something that has been deliberately cultivated and forced but something that has appeared unsought as inevitably as the personal style of a man's handwriting.
But since artists of note are seen to have a distinct personal style, no artist can hope to make a reputation in a competitive society unless he too can show a distinctive style which easily differentiates his work from that of other artists and draws attention to it. Therefore artists of little capability or uncertain vocation will take great care to make their work look 'different', whereas those with any certainty in them will know that their work cannot help but look different from that of other people any more than signatures can.
It is worth reflecting that the fact of the unmistakable individuality of each man's signature is one foundation of modern commerce everywhere. To establish the individuality of it one need not write it vertically up the page in letters two inches high. And yet there are only twenty six letters, and everyone else uses them too.