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In 2018, web browsers offer vast potential to interactive designers, as revolutionary as what PostScript and desktop publishing offered for print thirty years ago. The computer liberated designers from purely mechanical considerations, to experiment with form, as Neville Brody, April Greiman and others demonstrated in the late 80s and 1990s. PostScript ensured that what you saw was what you got and the GUI offered the direct manipulation designers were used to, multiplied with new digital superpowers that let them be faster, more precise, and more flexible.
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It was a superb example of mapping designers’ traditions, and existing mental models, to a brand-new software environment.ĭesktop publishing would never have taken off if designers had been asked to do everything in a cryptic, green-screen command-line environment, only able to guess at the results before it came out on paper. Everything in the program was measured in points and picas. The toolbox palette, with its clearly understandable Susan Kare-designed icons, replaced your jars of pens, brushes, liner tape, rulers, scissors, knives, and paste pots. If you had learned your craft in the pre-digital era, programs like Illustrator and PageMaker mapped your physical drafting table and galley sheets to the screen. Without it, designers simply wouldn’t have adopted the tools.
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Later, we switched to using Aldus PageMaker 1.0 and a laser printer, and in the following years, the entire print industry switched over to digital prepress systems.Īmong many technical breakthroughs, the most important innovation that made this transition successful was the graphical user interface. To design with a computer meant needing to think like a computer, to give the computer the correct commands, in the correct order, and produce the desired output. Aside from pioneering computer artists who would hand-code their creations for output on oscilloscopes and plotters, it remained a remote and specialist instrument, disconnected from the handcraft tradition. The user interface of handcrafting, if you will, is direct manipulation the physical transformation of materials, the application of pigment to canvas, the placement of type into composing sticks, the pressing of roller to paper.Ĭomputers took decades to evolve into useful, familiar tools for visual designers. This remained true well into the 19th century age of mechanical reproduction. Cave paintings, petroglyphs, clay sculptures, hieroglyphic alphabets tapestries, mosaics, paintings, calligraphy hand-cut type, watercolours, lithography, silkscreen in all of these, the artist executed their work manually, even down to creating their own art materials. Note: It’s advised against using gulp.start in favour of executing tasks in the dependency arrary, but in this scenario to ensure clean fully completes, it seems the best option.A world made by hand: Design before the computer Tasks in Gulp run concurrently together and have no order in which they’ll finish, so we need to make sure the clean task is completed before running additional tasks. In this example, the clean task will run before the tasks in gulp.start. This is where we can define task dependencies. Notice the additional array in gulp.task. Let’s take a look at an example of what a basic Sass build could look like with both Grunt and gulp: Gulp allows you to input your source file(s), pipe them through a bunch of plugins and get an output at the end, rather than configuring each plugin with an input and output-like in Grunt. If you want to learn more about streams-although not necessary- this article is a good read. Gulp uses node.js streams, making it faster to build as it doesn’t need to write temporary files/folders to disk.
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Gulp’s code-over-configuration makes it not only easy to write tasks for, but also much easier to read and maintain. Why should I be interested? Good question. Gulp is an intuitive, code-over-configuration, streaming build system. Step aside Grunt, there's a new task runner in town.
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