Thursday, April 24, 2008

Web Designing for Context with CSS

Web standards promised us improved multimedia delivery: the ability to optimize content for computer screens, handhelds, printers, projection devices, and other media.
The CSS required to accomplish this is simple. All you have to do is import a separate style sheet for each media type to override the style selectors for the primary medium. Check out Eric A. Meyer’s fantastic and influential article “Going to Print” for an in-depth example of how to do this. (Warning: some media aren’t fully supported.)
Most of the discussion thus far in the design community has focused on styling content for varying media. Specifically, designers have tried to improve the accessibility of content, stripping away heavy graphics for handhelds or switching to more legible fonts for print.
We don’t have to stop there. Instead of using CSS to style the same content for different media, why not use it to display content especially suited for the situation?
Imagine that a designer reads an article in his favorite web magazine and then prints it out. The designer staples the pages together, grabs a highlighter, and reads the article, marking the most important points and jotting down notes in the margins. Over time, he refers back to the hardcopy.
What can we say about this situation? Is there anything unique about it? What makes it worth noting?
Different media offer different opportunities
First of all, the designer in the above example viewed the article in a different medium than it was originally designed for, and used the article in ways that it couldn’t be used online (i.e. highlighting selected passages). Secondly, we know the designer cared about the article so much that he wanted a physical copy of it. That makes him fairly special compared to the folks who “only” read the web version.
Designing for context
Say you want to use context-aware content to speak to potential visitors to your site. What happens when someone who hasn’t visited your site reads a printout of one of your articles? What message can you give that person when they print the article that you wouldn’t give to someone who reads it online? If your goal is to increase readership, you might say something like:
You are viewing a printed version of an article that came from a fantastic website (http://www.xyz.com) where you can find many more relevant, insightful articles. We think that you’ll be interested in this other article (http://xyz.com/article02.html) because it deals with the same subject as the one you are now reading.”
If your goal is to increase account sign-ups, you might say something like:
If a friend or colleague gave you this printout, you might be eligible for a special, one-time offer. Sign up for an account and we’ll give you 10% off your first purchase.”
If your goal is to get people inquiring about your services, you might say something like:
You are reading an article written by J.D. of XYZ Company. J.D. lives this stuff. If you have any questions about the services mentioned in the article simply give J.D. a call at her personal number (321-867-5309 ext 123) and she’ll be able to talk with you in-depth about what XYZ can do for you”.
(The third example might not be particularly suited to print, but might work well for readers who view your content on a handheld phone. You know it’s not hard for them to call you.)
But don’t just put these messages on the website for everyone to see. You don’t want to deliver them out of context; you want to create the special situation that exists when you talk to people in their context and they realize it.
A dash of CSS will do
The CSS used to accomplish this is very easy. Create a div with the content that is specifically suited for the medium you’re designing for — for this example, let’s say print:

Highly persuasive text of offer.


Use the display: none; property applied to the div for your screen style sheet so that the div does not display on the web (screen). In your style sheet for screen, use:
div#offer4print { display: none; }
Then style the declaration in your print (or whatever media you’re designing for) however you’d like in your style sheet for print:
div#offer4print { //insert styling for print here }
Other ideas for printing:
If you know a reader’s name (because, for instance, they’re logged in), insert their name on the printed version. Now it’s a print piece designed especially for them: ex libris Joshua Porter.
Give them special offers. Remember, these people are different from casual readers; treat them accordingly and design for their context.
Ideas for handhelds:
Phone numbers (obviously). Offer direct access to information related to the article they printed. They will appreciate it.
Provide them with a simple way to email themselves an easy-to-read (and easy to print) PDF version of the document.
Start doing stuff like this, and people will talk about you. They’ll show their friends and coworkers. They might say, “Hey look at this. This only showed up after I printed it. That’s different. Show this to the website VP. I’m going to see if any of the other pages on the site do this.”
Exploring these methods, you can come up with unique innovations that work particularly well for your users. Of course, you don’t need CSS to do this. You can use any technology with the ability to distinguish between media. The easiest way, however, takes a little context and just a dash of CSS.

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Friday, April 11, 2008

RedChilliWorX Top NEWS

07.Apr.2008
RedChilliWorx is one of the silverlight starter, Microsoft added the Redchilliworx.com for using and implementing his new technology Silverlight on their site and rated as 4.5 out of 5. India's Top Web Designer and professional person is engaged into Creating Silverlight Websites and Applications. >> View more
18.Jan.2008
OasisGraphic.com is owned by redchilliworx.com Microsoft added the Oasisgraphic.com for using and implementing Silverlight on their site and rated as 4.5 out of 5. >> View more

Thanks for such a good effort guys.
Regard's
Ritesh Niranjan

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Silverlight 1.0 Animation: Checkerboard, blinds, and comb

This post describes how to create a Silverlight 1.0 based checkerboard, blinds, and comb animation. The effect is added to my animation library so you can reuse the effect using a single line of code. You can download the complete source from here.
To create your own checkerboard animation using my animation library download the source code and include Animator.jas and XamlObjectFactory.js in your project and reference them in your Silverlight host page. To create an across checkerboard effect, use the following line:
SilverlightRecipes.Animator.checkerAcross('CheckerAcross', sender.findName('ToAnimate'), '1', 10, 10);
The first parameter is a unique ID for the animation storyboard. The ID is required because storyboards added to a UIElment resources must be named. The second parameter is the animation target. The target can be any UIElement. The third parameter is the animation duration in seconds. The third parameter is the number of horizontal checkers, and the fourth parameter is the number of vertical checkers.
To create a top down checkerboard animation use the following line of code:
SilverlightRecipes.Animator.checkerDown('CheckerDown', sender.findName('ToAnimate'), '1', 10, 10);
To create a vertical blinds animation use the following line of code:
SilverlightRecipes.Animator.blindsV('BlindsV', sender.findName('ToAnimate'), '1', 10);
To create a horizontal blinds animation use the following line of code:
SilverlightRecipes.Animator.blindsH('BlindsH', sender.findName('ToAnimate'), '1', 10);
To create a vertical comb animation use the following line of code:
SilverlightRecipes.Animator.combV('CombV', sender.findName('ToAnimate'), '1', 20);
To create a horizontal comb animation use the following line of code:
SilverlightRecipes.Animator.combH('CombH', sender.findName('ToAnimate'), '1', 20);
The idea behind these animations is to use multiple wipe animations with different clippings, start times, and durations to generate the desired effect. For example the clipping for 2*2 checkerboard is a PathGeometry with four PathFigure instances to represent each rectangle of the checkerboard:

(pathgeometry)
(pathgeometry.figures)
(pathfigure isclosed="True" startpoint="0,0")
(pathfigure.segments)
(linesegment point="0,0")
(linesegment point="0,135")
(linesegment point="0,135")
(/PathFigure.Segments)
(/pathfigure)
(pathfigure isclosed="True" startpoint="0,135")
(pathfigure.segments)
(linesegment point="0,135")
(linesegment point="0,270")
(linesegment point="0,270")
(/PathFigure.Segments)
(/pathfigure)
(pathfigure isclosed="True" startpoint="200,0")
(pathfigure.segments)
(linesegment point="200,0")
(linesegment point="200,135")
(linesegment point="200,135")
(/PathFigure.Segments)
(/pathfigure)
(pathfigure isclosed="True" startpoint="200,135")
(pathfigure.segments)
(linesegment point="200,135")
(linesegment point="200,270")
(linesegment point="200,270")
(/PathFigure.Segments)
(/pathfigure)
(/PathGeometry.Figures)
(/pathgeometry)

And the animation is done by a single storyboard with three PointAnimation instances to generate the wipe effect. The following is an example for a 2*2 checkerboard animation:

(storyboard duration="00:00:01" name="CheckerAcross")
(pointanimation duration="00:00:0.5" begintime="00:00:0.5" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[0].(PathFigure.Segments)[0].(LineSegment.Point)" to="200,0")
(pointanimation duration="00:00:0.5" begintime="00:00:0.5" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[0].(PathFigure.Segments)[1].(LineSegment.Point)" to="200,135")
(pointanimation duration="00:00:0.5" begintime="00:00:0.5" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[0].(PathFigure.Segments)[2].(LineSegment.Point)" to="0,135")
(pointanimation duration="00:00:0.5" begintime="00:00:00" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[1].(PathFigure.Segments)[0].(LineSegment.Point)" to="200,135")
(pointanimation duration="00:00:0.5" begintime="00:00:00" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[1].(PathFigure.Segments)[1].(LineSegment.Point)" to="200,270")
(pointanimation duration="00:00:0.5" begintime="00:00:00" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[1].(PathFigure.Segments)[2].(LineSegment.Point)" to="0,270")
(pointanimation duration="00:00:0.5" begintime="00:00:00" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[2].(PathFigure.Segments)[0].(LineSegment.Point)" to="400,0")
(pointanimation duration="00:00:0.5" begintime="00:00:00" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[2].(PathFigure.Segments)[1].(LineSegment.Point)" to="400,135")
(pointanimation duration="00:00:0.5" begintime="00:00:00" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[2].(PathFigure.Segments)[2].(LineSegment.Point)" to="200,135")
(pointanimation duration="00:00:0.5" begintime="00:00:0.5" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[3].(PathFigure.Segments)[0].(LineSegment.Point)" to="400,135")
(pointanimation duration="00:00:0.5" begintime="00:00:0.5" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[3].(PathFigure.Segments)[1].(LineSegment.Point)" to="400,270")
(pointanimation duration="00:00:0.5" begintime="00:00:0.5" targetname="ToAnimate" targetproperty="(UIElement.Clip).(PathGeometry.Figures)[3].(PathFigure.Segments)[2].(LineSegment.Point)" to="200,270")
(/storyboard)


Illustrated By Ritesh Niranjan


Silverlight 2.0 Deep Zoom using MultiScaleImage Control

MultiScaleImage Control
This is my first Silverlight 2.0 tutorial. I have seen MIX keynote yesterday and was really impressed with Hard Rock's Memorabilia sample http://memorabilia.hardrock.com/. I tried to reproduce the sample but could not find any documentation about Deep Zoom. After some search, I found a tool released by Microsoft called "Deep Zoom Composer". You can download the tool from here . And you can get the user's guide from here. The composer is very simple, you will import your images, arrange your photos, then export. These steps went smoothly, but I didn't know what I am supposed to do with the exported output, but after some hacking I could display the image, zoom in and out, and move the canvas. So I decided to share how I accomplished these tasks.Displaying Deep Zoom ContentThis is the simplest task, all you need to do is inserting a MultiScaleImage control and set its Source property. But there are a couple of tricks here, first you need to copy the folder that "Deep Zoom Composer" generated to your clientbin folder. The second is that the Source property should refer to your items.bin file if you exported your content with "Create Collection" option selected, or info.bin file otherwise.ZoomingYou can zoom either by using ViewPortWidth property, or better using ZoomAboutLogicalPoint method, the method takes zooming factor, and logical x, y co-ordinates to zoom around. The following code sample shows how to use this method
if (!isCtrlDown) this.DeepZoom.ZoomAboutLogicalPoint(1.5, this.DeepZoom.ElementToLogicalPoint(e.GetPosition(this.DeepZoom)).X, this.DeepZoom.ElementToLogicalPoint(e.GetPosition(this.DeepZoom)).Y); else this.DeepZoom.ZoomAboutLogicalPoint(0.75, this.DeepZoom.ElementToLogicalPoint(e.GetPosition(this.DeepZoom)).X, this.DeepZoom.ElementToLogicalPoint(e.GetPosition(this.DeepZoom)).Y);The isCtrlDown field is set in the KeyDown, KeyUp events of the root canvas. I have tried setting the events on the MultiScaleImage control, but it did not fire, not sure why, here is the code private void DeepZoom_KeyDown(object sender, KeyEventArgs e) { if (e.Key == Key.Ctrl) isCtrlDown = true; } private void DeepZoom_KeyUp(object sender, KeyEventArgs e) { if (e.Key == Key.Ctrl) isCtrlDown = false; }
Moving ContentThis is the most tricky part because of the logic needed to handle dragging. But when it comes to the MuliScaleImage control, it is relatively easy and require only one line of code to modify the ViewportOrigin property, here is some sample code if (isDragging) { Point newOrigin = new Point(); newOrigin.X = this.DeepZoom.ViewportOrigin.X - ((e.GetPosition(this.DeepZoom).X - lastMousePosition.X)/this.DeepZoom.ActualWidth); newOrigin.Y = this.DeepZoom.ViewportOrigin.Y - ((e.GetPosition(this.DeepZoom).Y - lastMousePosition.Y) / this.DeepZoom.ActualHeight); this.DeepZoom.ViewportOrigin = newOrigin; }You can download the complete sample project with source code from here

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Wednesday, April 9, 2008

Quick CSS Mockups with Photoshop

You need to make a set of web design mockups for your client. You’d like to find an easy way to show these mockups in clean XHTML and CSS code, because plain JPGs don’t convey the full sense of the design, and sliced tables are evil. In fact, let’s forget table slices ever existed.
Caveat: This article is for people who need to produce valid, standards-compliant mockups quickly, with the graphics tools they already use. This is not a production technique for people who want to get the most benefit out of (X)HTML by creating structural, semantic markup. Creating structural, semantic markup, as A List Apart and most standardistas recommend, still takes time, thought, and hand-coding.
WYSIWYG graphics editors such as Fireworks, GoLive, and ImageReady allow you to generate HTML code, but the exported code tends to use tables or absolute positioning. That’s so 1999. So what, then, can these programs do in terms of producing valid and useful code? More than you think. I’ll show you an easy way to produce mockups with Photoshop, prepare them for the web with ImageReady, and clean up the code afterward.

Background


I must admit, Fireworks was a major part of my design arsenal until I started taking accessibility and standards compliance seriously, and I don’t think I’m alone here. The problem I ran into was that I could only export HTML code using tables, when what I really wanted was relatively positioned div elements. Only with ridiculous hours of coding and copious quantities of caffeine could you convert such a table to relative divs, and this just steals more time from when you could have been designing more mockups or sleeping. So why start off with a sliced table at all? What I needed was a way to generate clean relatively positioned divs—or, barring that, code that was close enough that it wouldn’t take aeons to make it play nice with W3C standards. These days, this is surprisingly straightforward with ImageReady.

Make ImageReady CSS-ready


Adobe Photoshop CS ships with a web-focused sidekick: ImageReady CS. Adobe Fireworks is great for vector applications, but less so for raster work. Conversely, ImageReady is perfectly suited for raster work, but less so for vector work (although that’s changing). Using ImageReady, you can export slices as absolutely positioned divs, which can be easily transformed into relatively positioned divs.
This means you can start off in Photoshop to do all your complex masking, fades, Illustrator vector art, filters, etc., and then switch to ImageReady to slice up your layout. You’ll want to be sure that your layout is aligned to the top left; don’t try to center it just yet—that’s a job for CSS later on. Using ImageReady, you can style your navigation menu items (unless you’re doing that with pure text / CSS) and set rollover states. (For a production layout, you would probably shy away from Adobe rollovers and actions in favor of your own JavaScript or CSS rollovers, but for mockup use, these rollover states should suffice.)

Slice it up

Use the Slice tool to create your slices. Once you’re finished use the Slice Select tool to select and rename each section. For example, you may have a header that will become a div tag later on. ImageReady would really like to call this “Yourfile_1_01,” but you’ll save yourself some work by giving it a logical name from the start, like “header”. You will use this later on when editing your CSS. The same goes for the content area, any side columns, the footer, and other areas you may want to define.
Jump back and forth between designing in Photoshop and ImageReady until you’re ready to test out your design in a browser. Then, in ImageReady, go to File › Preview In › (insert favorite browser here). See whether your slices look and behave as intended, and modify your optimization settings accordingly. Exported slices will result in JPG or GIF images inserted into div tags with img tags; later, you may want to insert some of the images as background images for the individual divs instead.

Exporting HTML & CSS

Set your output settings: select File › Output Settings › HTML and change the settings to your liking. Note that you can opt to generate XHTML code. Select “Next” and check the settings in Saving HTML Files.
Select “Next” again; this brings you to Slices. Here you can choose to “Generate CSS.” Next to Referenced, you’ll see a dropdown menu that allows you to choose By ID, Inline, or By Class. Select By ID. You can also get detailed with slice naming conventions if you’re so inclined.
Export your mockup to (X)HTML/CSS using File › Save Optimized As, and choose a location that makes sense to you. Note that ImageReady will create an /images subdirectory in the same location where you save the HTML file. (Line wraps marked » —Ed.)

Toast, anyone?We now have slices consisting of absolutely positioned divs, with the CSS contained directly in the HTML file’s head. Maybe absolutely positioned divs are just what you need—if so, grab a cup of coffee and relax. Otherwise, let’s take things a step further by converting these divs to relative positioning.
First, make a copy of the ImageReady-generated HTML file and open it in your code editor (e.g. Dreamweaver, BBEdit, or another favorite editor). You’ll probably want to wrap all your divs inside an outside container div to control your mockup layout more precisely. ImageReady exports the CSS slices as divs and wraps them in a container div called “Table_01.” Rename the “Table_01” div (to “container”, for example) and style it with CSS as you see fit. If you don’t need a container div, just delete the “Table_01” div and its CSS counterpart.
Next, switch all your other divs to relative positioning by removing the absolute positioning declarations and letting them inherit relative positioning. Pay special attention to your floats and clears. You could try to switch all your divs at once, but a more precise and predictable way to go about it is to change one div at a time and check each div individually.
For divs that contain images, decide which should be turned into CSS background images and which really deserve an image tag. Some slices (a content area, for example) may be of a single color and thus should be set using a CSS style without any images. Set the overall page background separately using your stylesheet. If this were a production layout, you’d probably move your CSS to an external stylesheet, but that may be overkill for single-page mockups. Validate your code and you’re good to go.
You’ll need to add appropriate height and width declarations back in if the image in this element becomes a background image in a later revision.

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CSS Layout Techniques: for Fun and Profit

Look Ma, No Tables.
If you are looking for help making the transition to CSS layout (that's Cascading Style Sheets), you've come to the right place. I am cataloging here as many useful cross-browser CSS layout techniques as I can find, and some that I made up when I was bored last Thursday. All the examples on this site have been reduced to only their essential code, and you will find the source displayed on each page to hopefully make it quick and easy to understand the inner workings of the CSS. Feel free to steal all the code you find on this site, and consider linking back here on your site or in your source comments.
You will also find below links to various online CSS resources and tutorials, appropriate for both the novice and the seasoned CSS veteran.
I started this collection because of the dearth of resources I found out there when I went looking for information on how to translate typical table based layouts to CSS layouts. I know it is not nearly exhaustive, so if you see that there is something missing, whether it is a particularly good tutorial, or a site that is using a complex CSS layout, please let me know about it. I will pay you $3750 for each link you submit that I use.
If you don't have any idea why anyone cares about this topic, because like tables can do all that stuff and more, please read this: To Hell with Bad Browsers. And then read this follow up interview with Zeldman. And then read about the Web Standards Project's Browser Upgrade campaign. The future is bright, kids!

CSS Techniques
CSS layout techniques and the sites that use them.
3 Columns, The Holy Grail of page layouts — The most elegant technique and perhaps the most sought after layout: a 3 column page with a fluid center column. Easy to understand, easy to implement. I first saw this layout at dynamic ribbon device and have since learned that the sweet CSS came from Rob Chandanais of BlueRobot. Owen also made a very nice tutorial using this layout technique.
2 Columns, ALA Style — Famously chronicled by Jeffrey Zeldman in his ALA article A Web Designer's Journey, this is an extremely easy layout to implement requiring only a simple float:left declaration.
4 Columns, All Fluid — This technique can actually be used to provide as many columns on a page as you like. Drawback #1) it gets difficult quickly if you want to make any of the columns a fixed width. Drawback #2) it relies heavily on percentages, which the various browsers all calculate differently, so you can't place your columns very precisely. Still, a very useful technique, especially if you don't want borders and different background colors for your columns.
3 Columns, All Fluid — A much simpler and potentially more useful technique that then 4 column technique above. It uses float:left, suffers from needing percentage widths for each column, and from potential column wrapping when the browser window is narrowed.
Static Width and Centered — 3 columns all with static widths, and contained in a parent DIV which remains centered in the window. One rather serious limitation of this particular technique is that if any of the three content DIVs contains an image or a really long word that is longer than the width of the DIV, it totally breaks the layout. Each browser breaks it differently.
Nested Float — A very simple layout that features a nested, floated menu in the upper right. Easily reversed. A variation of this technique is in use on this very page.Dealing with the CSS box Model — IE5 Mac, NS6, Opera 5; they all handle borders and padding correctly, adding them to the width of the box. But IE5 PC gets it all wrong, placing them within the width of the box. IE5 PC's implementation is arguably easier to work with (scratch that, it is easier to work with), but that is beside the point. How do you deal with this discrepancy between the browsers? There are ways, my friends, there are ways.-->
straight to the top
CSS Resources
Specs, primers, validators, stuff like that
The CSShark Answers FAQs — Martina Kosloff has compiled a pretty good FAQ on CSS. Worth your time.
css/edge — From the mind of Eric Meyer comes this great little site pushing CSS to the edge. It is, in his words: "intended, first and foremost, to be as relentlessly creative with CSS as we have been practical all these years. It does not exist to present or explain safe cross-browser techniques; in fact, almost the opposite. The goal here is to find ways to make CSS live up to its fullest potential, with only minimal regard to browser limitations."
websitetips.com CSS section — Literally a ton of links to CSS resources from all over. A better set of links than this one by far.
Guide to Cascading Style Sheets from the Web Design Group. — An excellent primer if you need to start from scratch. It features a tutorial, a reference section, a syntax validator, and more CSS links. A little dated, but still an excellent place to start.

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Thursday, April 3, 2008

Ritesh Niranjan Pic

Ritesh Niranjan Freelance web Designer India
Ritesh Niranjan Sharma web Design low price high quality India
Regard's
Ritesh Niranjan
Web & Graphic Designer(Web Developer)

RedChilliWorX - Creative Solution For Your Bussiness
Charmwood Plaza, Charmwood Village, Surajkund Road,
Faridabad, Haryana 121009, INDIA
M - 91-9911138302
email - ritesh@redchilliworx.com
Website : www.redchilliworx.com

How to embed fonts in webpages

Find a font. First, find a TrueType font you want to use. I can recommend Larabie Fonts, where there are over 300 free fonts to download. I made my handwriting font for $10 using Fontifier, a service that makes a TrueType font from a scan of your handwriting. You can get a 30 day trial version of Font Creator if you want to design more sophisticated fonts.
Install your font. To do this, you just drag the font's ttf file into the computer's fonts folder. You can find this in the control panel.
Test your font. The default fonts supplied with computers are optimised for reading long tracts of text on screen. If you want to change your website's body copy, choose carefully. If your font is installed correctly, you should be able to format text using the font in Microsoft Word or other word processing packages you have on your system.
Use your font in your webpage. You'll need to use code similar to this, but remember the font name might not be the same as the font's filename:
My spidery script...

To create the embedded font files, you need to download Microsoft's free Web Embedding Fonts Tool (WEFT). It's about 9MB and runs on Windows 98 and later. Microsoft suggests it might work on Apples running PC emulators.
Install and run WEFT. The first time it runs it will scan the computer for installed fonts.
If you've closed WEFT and come back to it, click on the Wizard button. First time it starts automatically. You'll be asked for your name and email address. This will end up on your webpages that use the fonts unless you edit it out again, so enter a spam-safe email address.
Tell WEFT which HTML pages you want to use embedded fonts on. These should be the pages you've already styled in step 4 above. When I tried it, the feature to spider links from the first page didn't work.
WEFT will analyse your webpages to see which fonts they use and whether they can be embedded or not. The embedded font files (EOT files) can be set to only include the characters you're using. This is called subsetting. You can see which characters are included for each font by clicking on the subset button. If you want to be able to update text in future, it's a good idea not to use any subsetting. Otherwise you might find your font file doesn't have all the characters you later need.
The tool lets you define which webpages or websites are allowed to use the font so you can share fonts between your sites while blocking others from snaffling your bandwidth. You can have a maximum of three paths.
Back up your webpages. WEFT will add code to them to reference the font files.
Create the font objects. Your EOT files will be created and your webpages will be updated to refer to them.
Test it - Uninstall your custom font by removing it from the fonts folder in the control panel again. Upload your webpage and the associated EOT file. Visit it using IE. If you can see the font on screen, it's worked! If not, check first of all that you haven't blocked font downloading in your security settings in Internet Explorer.
Illustrated By : Ritesh Niranjan

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Tuesday, April 1, 2008

Choosing the right file format for a logo

For a Word or Powerpoint document
You need a GIF (.gif) file. These are 'bitmap' files (pictures made of dots), and will be easily imported by Office applications. JPEG (.jpg) files are unsuitable for logos - they are intended for colour photographs. I provide GIF files because they use up less disc space, but bigger BMP (.bmp) files an alternative.

For a web page
For this you need a GIF file. Don't try to scale it though!

Professional print
Here the GIF file is all but useless. You need an EPS file. These are 'Vector' files. (see below) Because EPS files are big, (they take up a lot of disk space, and take a long time to download) I 'compress' them with a program called Stuffit. They end up with the suffix '.sit'. They are only really suitable for professionals who use Apple Macs.

Definitions

Bitmap files are made up of rows and columns of dots. When you enlarge them, you can see the dots.


Vector files are made up of mathematically described geometric lines and shapes (rather than coloured dots) and so will never get 'blocky', whatever size you print them.

GIF Graphic Interchange Format. This sort of bitmap file is very good for simple line art, logos and icons. It is rubbish for photos.

JPEG Joint Photographic Experts Group files are bitmaps which are great for photos but very poor for logos or text.

EPS Encapsulated Postscript Files are vector files and used by printers, designers and other graphics professionals. Logos designed in Illustrator or Freehand (most are) will be originally in this format. From this file, you can make as many 'bitmap' versions at whatever size you choose. They are infinitely scalable.

BMP Bit Map Picture files are commonly used on Windows PCs. They are not suitable for transfer across the Internet, because they are poorly compressed.

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Logo Format Definitions

For Web or Presentation materials, please use a low resolution image.
These will be e-mailed to you in JPG format.

The JPG format is for Web or Presentation materials.

For Professional Print materials, please choose a high resolution image.
These will be e-mailed to you in EPS format.

4Color is for CMYK color scheme.
Black is for Black&White scheme.
PMS is for the Pantone color scheme.

Note: Unless you have the appropriate software, you will not be able to open high resolution images. This is because, these files are meant for printers and designers. If you have any questions, please contact RedChilliWorx.

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