File this one under the header of why I love the web. Gridlover’s simple, powerful, and free app lets you style your site CSS for type directly in your browser, and the WYSIWYG user interface make the experience pleasant, fast, and easy.
Typically, CSS type coding for your web site or individual page requires imagining what the results will look like, and that’s not always easy. Switching views back and forth in Dreamweaver can be tiresome, and introducing variables like line height, scale (between tags), and font size tend to get bogged down, if not impossible when you’re dealing with thousandths of whatever metric you prefer – pixels, ems, or SCSS.
What About Web Fonts?
Web fonts? Previewing the results typically requires updating the code and previewing online, which isn’t exactly elegant. Seeing the end result in Gridlover simply requires pasting in the HREF link and you’re there.
Try it yourself and see why using Gridlover to set up your type style sheet is a no-brainer. It puts the fun back in designing your site’s typography, instead of a chore that has to be dealt with.
When Yahoo hired Marissa Mayer as CEO to shake up the troubled social-news-entertainment-search URL, she moved quickly to revamp the languishing asset, turning it into what it is today – a fully functional resource for all photographers that offers 1TB of free storage to every Flickr member.
No Shortage of Cloud Storage Destinations
While there’s no shortage of free storage silos – from Apple to Google to Dropbox and more – Flickr’s got a lot more going for it than just online access.
The latest round of upgrades features a fresh textual filter that allows selective image recognition filtering even if the image isn’t tagged with matching text. Your search term “red tomato” is recognized even if the red tomato isn’t tagged. Green wheelbarrow? Covered. And the returns are quick, no waiting in line.
Earlier this year they debuted Camera Roll, a feature that automatically displays a user’s images chronologically that also packs a powerful search punch, while automatic grouping of images on upload is another tweak aimed at promoting greater utilization and engagement.
Fresh mobile apps are also coming out, making the continued transformation from what began as a storage solution into a fully implemented social channel a reality that while it doesn’t pose a threat to Facebook operates perfectly within its own sphere of devotees.
Social Media Marketing Metadata Options
When a user takes the time and has the insight to implement the powerful metadata opportunities offered by the service, Flickr becomes a social media marketing superhero. By taking advantage of albums for event grouping, headline, location, description, and various other available tags, users turn visual content into easily searchable content that can stand alone as unique content or be cross-referenced to bolster online content elsewhere.
The Commons project is Flickr’s collection of free public domain imagery from the Library of Congress and other sources. Flickr can also filter Creative Commons licenses, including free to use with various restrictions.
For me, Flickr is the perfect still companion to YouTube’s video dominance, and a solid addition to a well-rounded social media marketing strategy.
Consumer brands Oreo cookies and Maker’s Mark bourbon both got a thumbs up for their conversation handling. Oreo’s reaped a whirlwind of p.r. goodwill for their initiative during the Super Bowl partial blackout, while MM parent Beam quickly did an about face after announcing a change in the whiskey’s formulation.
Those examples contrasted with Carnival Cruise’s headlines for a different reason, and who knew that President Barack Obama’s State of the Union address and the Republican response would offer a gold-plated opportunity to score huge headlines. Unfortunately, not everyone is up to the task of monitoring, let alone responding, to social media’s powerful audiences. Read more here.
Reporter Dexter Ford writes in the paper’s Automotive section about the challenges facing the nascent industry, not least of which is cost. Far cheaper conventional alternatives, eco-friendly and offering the same or better mileage per comperable fillup, are getting top billing as the major Asian motorcycle brands begin to flex their muscles in taking on not only high-end electrics but cheap, disposable Chinese scooters as well.
styling overhaul resets brand
Compounding the confusion over electric’s future is a same-day post on the NYT’s Wheels blog on Zero’s 2013 lineup just introduced at Intermöt. In what’s seen as a responsive reaction to marketplace concern, the Santa Cruz, CA, company is moving away from the mountain bike inspired initial design towards a more familiar traditional look courtesy of former Buell designer and now Zero’s chief technology officer Abe Askenazi.
Between the high performance Lightning, the gyro stablized LIT Motors C1, or the mainstream (for electrics) bikes from Zero and Brammo, interest isn’t going away. And neither is the significant cost differential, or the lingering comparisons to Segway’s marketing rationale.
Whether that same interest will translate into sustainable sales for complete bikes or morph into a niche industry of DIY builds sourced from frame makers, engine manufacturers, and battery suppliers might be the unanswered question.
When it comes to opinions, those regarding China by Westerners seldom rise to superlative. From child labor sweatshops to cheap plastic trinkets to shoddily constructed knockoffs to IP piracy, the average take is commonly one of polluted cities and human rights abuses. Apple’s iPhones aside.
SapientNitro Global Marketing Strategy VP Freddy Laker tackles the existing memes with a compelling view of an alternate digital universe that’s on track to provide over half of all online content by 2015. More revealing is his take on the web landscape trod by Chinese, with same as, yet different, versions of familiar check-ins like facebook, Groupon, twitter, etc.
Does the electronic firewall separating the PRC from our digital daily life matter? Apparently not, as the Chinese entrepreneurial spirit has spawned look-alikes in a stunning variety of flavors, all without missing a beat.
Next to “What came first?” the most difficult question asked by non-riders is what’s it like to ride a motorcycle. It’s a question that’s given rise to countless variations of the same t-shirt, all to the point that if you have to ask you’ll never understand.
Which brings me to this wonderfully expressive short by motojournalism. Two guys, reflecting on a lifetime of deep friendship and mutual respect, made possible by a jointly shared love of offroad riding.
I’m still not sure if it explains what riding’s like to someone who doesn’t. But it sure worked to raise my pulse a couple of notches.
Just noticed YouTube’s updated favicon. Cleaner? Yes. Better? No. Favicons are one of the web’s finest tiny treasures, used to impart individuality and brand identity at the most basic browser URL address level. It’s a mini-logo that IDs the site as original and authentic.
The process of favicon creation is a definite art, not just the result of taking a logo or trademark and shrinking it down to a 16 x 16 pixel square. Roughly comparable to building a sailboat in a bottle, the successful digitalization of a mark is done at the pixel level; the harsh limitations of bitmap art that will eventually live as a rasterized facsimile.
In the case of YT, it’s pretty obvious that Google is in the process of homoginizing their various properties. I never thought the original YT worked, but it was identifiable. The new favicon is simply a reskinned play button that, while cleaner, doesn’t communicate anything unique.
Khol Vinh is a designer. Not that unusual, but his previous job as design director for nytimes.com makes him unique and his skillful accomplishments considerable.
He publishes his highly refined blog ‘Subtraction’ on the Expression Engine platform, which alone qualifies him for a spot at the podium. Khol takes what might be the long tail view of publishing content for consumption when he predicts that he, “…just can’t see the end-to-end magazine format surviving.”
In a short, insightful interview on digiday, he challeges the cultural tradition that starts on C1 and proceeds to C4, digital pages turning at regular intervals like scheduled stops on a train trip.
Read more of Mr. Vinh’s insight into digital magazine publishing here. Originally sourced in a posting at Poynter.
my digital photo first upload viewed live on compuserve
The photograph above is one of the first real time, commercial digital images ever viewed on the internet.
Today we snap anecdotal photos by the billions, using miniaturized smart phone cameras to simultaneously update our visual interests to any number of social sites. It wasn’t always this painless. This is what it looked like in the beginning.
February, 1993, and commercial digital photography is in the very early stages of development. Essential JPEG (.jpg) algorithms now taken for granted were still being finalized. TIFF was the standard (and inefficient) format for rasterized image content. <download chapter newsletter (left) PDF
At the same time while what we now know as the web and its browser viewed rich content was still being imagined, the internet of the early years ran over household telephone lines behind an impenetrable wall of individual cantons.
I belonged to CompuServe, the first and then largest of a half-dozen or so commercial intranet services (AOL, Prodigy, GEnie, each serving their own customer base and incapable of talking to each other) popular at the time. Members jumped online with dialup modems that connected to local access nodes peppered throughout the continent. Common practice when traveling was to tote along a phone jack hack kit and a list of hit-or-miss toll-free numbers.
first national online site for professional photographers
As an administrator of Compuserve’s Special Interest Group (SIG) Photography forum, I was able to carve out a private niche for the American Society of Magazine Photographers, becoming the first online presence for a national professional photographer’s organization. (I also formed and chaired ASMP’s first technology committee, authoring the first report to address the issue of online digital access and what that might mean to photographers’ usage rights.)
A regional meeting in Orlando of Florida’s ASMP chapters was the opportunity to photograph members with Kodak’s beta DCS 200mi Digital Camera System. I’d made the loaner list for their $20,000, black and white only, heavily modified motor drive Nikon mated to a small, slow hard drive powered by 16 rapidly drained AAs. (So much for blaming Kodak’s eventual bankruptcy on a lack of digital imaging knowledge – this was the first practical digital image capture commercially developed.)
There was no in-camera preview; the image first had to be transferred (over SCSI cables) to a Mac IIsi for viewing in Photoshop and downsampling before being uploaded to Compuserve’s mainframe in Columbus, Ohio, a process which took nearly half an hour over a staggeringly slow 2,400-bps modem.
To complete the project, Compuserve’s Photography forum owner in Sacramento had to merge the image into the forum library, and within 15 minutes it was available for viewing and download by ASMP members worldwide. As part of the experiment, ASMP members in three separate chapters throughout the country were also able to conduct live online chats within the forum. The photograph above is one of the first near real time, commercial digital images ever viewed on the internet.
One of the first departments to get the ax after Hearst announced last June the completion of the HFM media sale that included Cycle World among others was that brand’s social media department.
That was followed last month by a rumor on the alt-lifestyle site Hell For Leather (subscription required) that the title was already up for sale, again, possibly to the first bidder willing to step forth and make an offer. Any offer.
Today’s Wall Street Journal announcement has Hearst looking very closely at the digital components of their extensive media empire, which now includes 15 dailies, 38 weeklies, nearly 200 magazine titles, and an eclectic collection of local t.v. and cable outlets ranging from A&E to ESPN.
WSJ points out the obvious: Hearst is caught in the same dilemma as very other purveyor of traditional media; namely, a no longer debatable downward spiral of sub and ad based revenue that, like Rosebud, is lost forever.
And it is to that end that corporate strategy now seems heavily focused on building out Hearst’s Interactive Media group and with it a pronounced shift in emphasis from old to new media and with it all the promise offered by the tech sector.
Too soon to tell if any of this will spill over to the Newport Beach offices of America’s most popular two-wheel journal. But if it does, that can only be good.