Webbing take-up device
A webbing take-up device that is both capable of promoting reductions in size and weight and capable of excellently maintaining coupling strength between a pawl member and a ring portion. A clutch plate and a lock ring of this webbing take-up device are coupled by plural teeth provided at the clutch plate meshing with plural teeth provided at the lock ring. This lock ring is specified to have a lower material strength than the clutch plate. A tooth height H2 of the plural teeth of the lock ring is specified to be lower than a tooth height of the plural teeth of the clutch plate. Thus, when the lock ring and the clutch plate mesh, tooth tips of the plural teeth of the clutch plate come into contact with tooth bottoms of the plural teeth of the lock ring.
Webbing winding device
In a webbing winding device, even when a piston moves toward the other side in a movement direction due to a reaction when the piston moves to a maximum movement position, an engagement surface of a hook portion comes into contact with a subject engagement surface of a subject engagement portion, so that the movement of the piston toward the other side in the movement direction is restricted. Accordingly, the piston is prevented from returning to a standby position, and a pawl is prevented from returning to a lock position. For this reason, a state where a rotation of a locking ring in the pull-out direction is maintained. Accordingly, after the piston moves from the standby position to the maximum movement position, the piston is prevented from returning to the standby position, and the force limiter load is prevented from being changed.
Webbing retractor
In a webbing retractor, the center of a rack and rack-teeth in an axial direction of a pinion is placed on the opposite side of a leg plate side with respect to the central axis of a cylinder. The piston is acted upon by a tilting-force toward the leg plate side from the pinion. A stop portion of an upper stay is placed on another leg plate side of the leg plate. Even when the piston is acted upon by the tilting force toward the leg plate side from the pinion, the stop portion can stop the movement of the leg plate toward the other leg plate side, and tilting of the piston and the cylinder toward the leg plate side can be suppressed. Moreover, the need to increase the strength of a frame and so forth can be eliminated, so the webbing retractor can be made compact and lightweight.
Web product folding and stacking machine
A web product folding and stacking machine includes two folding line making rolls, two folding fingers, a first carrier unit, a stoppage unit and a holder. The folding line making rolls and the folding fingers are operated to fold up web products on the first carrier unit to form a stack of interfolded web products. Further, there is at least one suction device arranged on the top surface of the first carrier unit to suck the web products nearing the top surface of the first carrier unit and facilitate accurate stacking of the interfolded web products.
Web-based interaction with a local system
Systems, methods, and computer program products for facilitating web-based interaction with a local system are disclosed. Such systems, methods, and computer program products provide an approach that allows a web client within in a web browser environment to access local hardware and local software—via a web server contained in the local system—in a local computer system. In response to a user input, the web client directs local hardware and local software to perform actions (e.g., writing files and taking pictures). Information related to such actions is returned to the web client via the local web server. The local computer system may be remotely located from the web client and such returned information may be stored and/or executed at a remote site (e.g., cloud database). Security layers may be provided to authenticate the user as well as user permissions for accessing the local computer system.
Web substrate having activated color regions in deformed regions
The present invention relates to a web substrate comprising an activatable colorant and at least one deformed region. A first activated color region is produced in the web substrate upon exposure to a first external stimulus and a second activated color region is produced within the first activated color region upon exposure to a second external stimulus. The second activated color region coincides with the deformed region.
Website Redesign Process: Your Website Redesign Strategy in 5 Steps
Your website is your virtual business card and it often provides the first impression of your business to future customers — making it one of the most important aspects of your company. But if your website still has cobwebs from the 2000s, it’s time to put together a website redesign process. A website redesign process […]
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Website Statistics for 2020: 10 Critical Stats to Know for Web Design
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Getting Started With Nuxt
Web developers build a lot of Single Page Applications using JavaScript frameworks (Angular, React, Vue). SPAs dynamically populate the contents of their pages on load which means by the time google crawls their site, the important content is yet to be injected into the site. Part of this problem can be solved by pre-rendering your application’s content. This is where server-side applications come in, and for Vuejs developers, we can build server-side applications using Nuxt.
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Website Inspiration: Ruben Kuipers
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Web Design as Narrative Architecture
Stories are everywhere. When they don’t exist we make up the narrative — we join the dots. We make cognitive leaps and fill in the bits of a story that are implied or missing. The same goes for websites. We make quick judgements based on a glimpse. Then we delve deeper. The narrative unfolds, or we create one as we browse.
Mark Bernstein penned Beyond Usability and Design: The Narrative Web for A List Apart in 2001. He wrote, ‘the reader’s journey through our site is a narrative experience’. I agreed wholeheartedly: Websites are narrative spaces where stories can be enacted, or emerge.
Henry Jenkins, Director of Comparative Media Studies, and Professor of Literature at MIT, wrote Game Design as Narrative Architecture. He suggested we think of game designers, ‘less as storytellers than as narrative architects’. I agree, and I think web designers are narrative architects, too. (Along with all the multitude of other roles we assume.) Much of what Henry Jenkins wrote applies to modern web design. In particular, he describes two kinds of narratives in game design that are relevant to us:
Enacted narratives are those where:
[…] the story itself may be structured around the character’s movement through space and the features of the environment may retard or accelerate that plot trajectory.
Sites like Amazon, New Adventures, or your portfolio are enacted narrative spaces: Shops or service brochures that want the audience to move through the site towards a specific set of actions like buying something or initiating contact.
Emergent narratives are those where:
[…] spaces are designed to be rich with narrative potential, enabling the story-constructing activity of players.
Sites like Flickr, Twitter, or Dribbble are emergent narrative spaces: Web applications that encourage their audience use the tools at their disposal to tell their own story. The audience defines how they want to use the narrative space, often with surprising results.
We often build both kinds of narrative spaces. Right now, my friends and I at Analog are working on Mapalong, a new maps-based app that’s just launched into private beta. At its heart Mapalong is about telling our stories. It’s one big map with a set of tools to view the world, add places, share them, and see the places others share. The aim is to help people tell their stories. We want to use three ideas to help you do that: Space (recording places, and annotating them), data (importing stuff we create elsewhere), and time (plotting our journeys, and recording all the places, people, and memories along the way). We know that people will find novel uses for the tools in Mapalong. In fact, we want them to because it will help us refine and build better tools. We work in an agile way because that’s the only way to design an emerging narrative space. Without realising it we’ve become architects of a narrative space, and you probably are, too.
Many projects like shops or brochure sites have fixed costs and objectives. They want to guide the audience to a specific set of actions. The site needs to be an enacted narrative space. Ideally, designers would observe behaviour and iterate. Failing that, a healthy dose of empathy can serve. Every site seeks to teach, educate, or inform. So, a bit of knowledge about people’s learning styles can be useful. I once did a course in one to one and small group training with the Chartered Institute of Personnel and Development. It introduced me to Peter Honey and Alan Mumford’s model which describes four different learning styles that are useful for us to know. I paraphrase:
- Activists like learning as they go; getting stuck in and working it out. They enjoy the here and now, and are happy to be dominated by immediate experiences. They are open-minded, not sceptical, and this tends to make them enthusiastic about anything new.
- Reflectors like being guided with time to take it all in and perhaps return later. They like to stand back to ponder experiences and observe them from many different perspectives. They collect data, both first hand and from others, and prefer to think about it thoroughly before coming to a conclusion.
- Theorists to understand and make logical sense of things before they leap in. They think problems through in a vertical, step-by-step logical way. They assimilate disparate facts into coherent theories.
- Pragmatists like practical applications of ideas, experiments, and results. They like trying out ideas, theories and techniques to see if they work in practice. They positively search out new ideas and take the first opportunity to experiment with applications.
Usually people share two or more of these qualities. The weight of each can vary depending on the context. So how might learning styles manifest themselves in web browsing behaviour?
- Activists like to explore, learn as they go, and wander the site working it out. They need good in-context navigation to keep exploring. For example, signposts to related information are optimal for activists. They can just keep going, and going, and exploring until sated.
- Reflectors are patient and thoughtful. They like to ponder, read, reflect, then decide. Guided tours to orientate them in emergent sites can be a great help. Saving shopping baskets for later, and remembering sessions in enacted sites can also help them.
- Theorists want logic. Documentation. An understanding of what the site is, and what they might get from it. Clear, detailed information helps a theorist, whatever the space they’re in.
- Pragmatists get stuck in like activists, but evaluate quickly, and test their assumptions. They are quick, and can be helped by uncluttered concise information, and contextual, logical tools.
An understanding of interactive narrative types and a bit of knowledge about learning styles can be useful concepts for us to bear in mind. I also think they warrant inclusion as part of an articulate designer’s language of web design. If Henry Jenkins is right about games designers, I think he could also be right about web designers: we are narrative architects, designing spaces where stories are told.
The original version of this article first appeared as ‘Jack A Nory’ alongside other, infinitely more excellent articles, in the New Adventures paper of January 2011. It is reproduced with the kind permission of the irrepressible Simon Collison. For a short time, the paper is still available as a PDF!
—∞—
Web Fonts, Dingbats, Icons, and Unicode
Yesterday, Cameron Koczon shared a link to the dingbat font, Pictos, by the talented, Drew Wilson. Cameron predicted that dingbats will soon be everywhere. Symbol fonts, yes, I thought. Dingbats? No, thanks. Jason Santa Maria replied:
@FictiveCameron I hope not, dingbat fonts sort of spit in the face of accessibility and semantics at the moment. We need better options.
Jason rightly pointed out the accessibility and semantic problems with dingbats. By mapping icons to letters or numbers in the character map, they are represented on the page by that icon. That’s what Pictos does. For example, by typing an ‘a’ on your keyboard, and setting Pictos as the font-face for that letter, the Pictos anchor icon is displayed.
Other folks suggested SVG and JS might be better, and other more novel workarounds to hide content from assistive technology like screen readers. All interesting, but either not workable in my view, or just a bit awkward.
Ralf Herrmann has an elegant CSS example that works well in Safari.
Falling down with CSS text-replacement
A CSS solution in an article from Pictos creator, Drew Wilson, relies on the fact that most of his icons are mapped to a character that forms part of the common name for that symbol. The article uses the delete icon as an example which is mapped to ‘d’. Using :before and :after pseudo-elements, Drew suggests you can kind-of wrangle the markup into something sort-of semantic. However, it starts to fall down fast. For example, a check mark (tick) is mapped to ‘3’. There’s nothing semantic about that. Clever replacement techniques just hide the evidence. It’s a hack. There’s nothing wrong with a hack here and there (as box model veterans well know) but the ends have to justify the means. The end of this story is not good as a VoiceOver test by Scott at Filament Group shows. In fairness to Drew Wilson, though, he goes on to say if in doubt, do it the old way, using his font to create a background image and deploy with a negative text-indent.
I agreed with Jason, and mentioned a half-formed idea:
@jasonsantamaria that’s exactly what I was thinking. Proper unicode mapping if possible, perhaps?
The conversation continued, and thanks to Jason, helped me refine the idea into this post.
Jon Hicks flagged a common problem for some Windows users where certain Unicode characters are displayed as ‘missing character’ glyphs depending on what character it is. I think most of the problems with dingbats or missing Unicode characters can be solved with web fonts and Unicode.
Rising with Unicode and web fonts
I’d love to be able to use custom icons via optimised web fonts. I want to do so accessibly and semantically, and have optimised font files. This is how it could be done:
-
Map the icons in the font to the existing Unicode code points for those symbols wherever possible.
Unicode code points already exist for many common symbols. Fonts could be tiny, fast, stand-alone symbol fonts. Existing typefaces could also be extended to contain symbols that match the style of individual widths, variants, slopes, and weights. Imagine a set of Clarendon or Gotham symbols for a moment. Wouldn’t that be a joy to behold?
There may be a possibility that private code points could be used if a code-point does not exist for a symbol we need. Type designers, iconographers, and foundries might agree a common set of extended symbols. Alternatively, they could be proposed for inclusion in Unicode.
-
Include the font with
font-face.This assumes ubiquitous support (as any use of dingbats does) — we’re very nearly there. WOFF is coming to Safari and with a bit more campaigning we may even see WOFF on iPad soon.
-
In HTML, reference the Unicode code points in UTF-8 using numeric character references.
Unicode characters have corresponding numerical references. Named entities may not be rendered by XML parsers. Sean Coates reminded me that in many Cocoa apps in OS X the character map is accessible via a simple CMD+ALT+t shortcut. Ralf Herrmann mentioned that unicode characters ‘…have “speaking” descriptions (like Leftwards Arrow) and fall back nicely to system fonts.’
Limitations
-
Accessibility: Limited Unicode / entity support in assistive devices.
My friend and colleague, Jon Gibbins’s old tests in JAWS 7 show some of the inconsistencies. It seems some characters are read out, some ignored completely, and some read as a question mark. Not great, but perhaps Jon will post more about this in the future.
Elizabeth Pyatt at Penn State university did some dingbat tests in screen readers. For real Unicode symbols, there are pronunciation files that increase the character repertoire of screen readers, like this file for phonetic characters. Symbols would benefit from one.
-
Web fonts:
font-facenot supported.If
font-faceis not supported on certain devices like mobile phones, falling back to system fonts is problematic. Unicode symbols may not be present in any system fonts. If they are, for many designers, they will almost certainly be stylistically suboptimal. It is possible to detectfont-faceusing the Paul Irish technique. Perhaps there could be a way to swap Unicode for images iffont-faceis not present.
Now, next, and a caveat
I can’t recommend using dingbats like Pictos, but the icons sure are useful as images. Beautifully crafted icon sets as carefully crafted fonts could be very useful for rapidly creating image icons for different resolution devices like the iPhone 4, and iPad.
Perhaps we could try and formulate a standard set of commonly used icons using the Unicode symbols range as a starting point. I’ve struggled to find a better visual list of the existing symbols than this Unicode symbol chart from Johannes Knabe.
Icons in fonts as Unicode symbols needs further testing in assistive devices and using font-face.
Last, but not least, I feel a bit cheeky making these suggestions. A little knowledge is a dangerous thing. Combine it with a bit of imagination, and it can be lethal. I have a limited knowledge about how fonts are created, and about Unicode. The real work would be done by others with deeper knowledge than I. I’d be fascinated to hear from Unicode, accessibility, or font experts to see if this is possible. I hope so. It feels to me like a much more elegant and sustainable solution for scalable icons than dingbat fonts.
For more on Unicode, read this long, but excellent, article recommended by my colleague, Andrei, the architect of Unicode and internationalization support in PHP 6: The Absolute Minimum Every Software Developer Absolutely, Positively Must Know About Unicode and Character Sets.
Weblog Tools Collection: WP-commerce Podcast
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The post Weblog Tools Collection: WP-commerce Podcast appeared first on WPCult.
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