2000 design

Demistifying Javascript

JavaScript is a programming language made for web browsers which was initially made for basic image display, text and data but in the 1990’s Netscape developed it into what you see today. It is a language that allows web developers to make all manner of user friendly web items  possible. It allows for a  dynamic and user friendly experience. It handles complex procedures in the online environment such as making live feeds of sports updates and validating user data.

You may be familiar with HTML and CSS. HTML is a markup language. Unlike a markup language which is excellent at organizing elements, Java Script adds a bit more bang for your buck as it is a programming language which means it has more capabilities then HTML.  JavaScript can not only tell the browser how to arrange the web elements, just like HTLM,  but it can interact with the browser in such a way that it is more like a conversation with the browser, rather then just a set of instructions.

As a programming language, JavaScript is based on logic, algorithms and math. Even though this may seem like it is outside the arena of graphic designers, if you want to get into web design, it is important to understand how to implement programming languages such as JavaScript to create awesome functionality to websites.

JavaScript is converted into machine code and interpreted by the web browser. This was initially a major issue in the 1990’s, as each browser interpreted JavaScript differently and some elements would not work properly from one browser to the next. JavaScript requires a browser to convert the script into something workable.

Hopefully this brief overview was helpful in demystifying JavaScript.

 

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First Things First 2000 a design manifesto

First Things First 2000
a design manifesto

manifesto published jointly by 33 signatories in:
Adbusters, the AIGA journal, Blueprint, Emigre, Eye, Form, Items
fall 1999 / spring 2000

We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.

Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.

Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.

There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication – a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.

In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
signed:

Jonathan Barnbrook
Nick Bell
Andrew Blauvelt
Hans Bockting
Irma Boom
Sheila Levrant de Bretteville
Max Bruinsma
Siân Cook
Linda van Deursen
Chris Dixon
William Drenttel
Gert Dumbar
Simon Esterson
Vince Frost
Ken Garland
Milton Glaser
Jessica Helfand
Steven Heller
Andrew Howard
Tibor Kalman
Jeffery Keedy
Zuzana Licko
Ellen Lupton
Katherine McCoy
Armand Mevis
J. Abbott Miller
Rick Poynor
Lucienne Roberts
Erik Spiekermann
Jan van Toorn
Teal Triggs
Rudy VanderLans
Bob Wilkinson