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Top 10 SQL Performance Tips

2011-11-29T05:30:00.001+02:00

Top 10 SQL Performance Tips

Interactive session from MySQL Camp I:
Specific Query Performance Tips (see also database design tips for tips on indexes):

Use EXPLAIN to profile the query execution plan
Use Slow Query Log (always have it on!)
Don't use DISTINCT when you have or could use GROUP BY
Insert performance
1. Batch INSERT and REPLACE
2. Use LOAD DATA instead of INSERT
LIMIT m,n may not be as fast as it sounds. Learn how to improve it and read more about Efficient Pagination Using MySQL
Don't use ORDER BY RAND() if you have > ~2K records
Use SQL_NO_CACHE when you are SELECTing frequently updated data or large sets of data
Avoid wildcards at the start of LIKE queries
Avoid correlated subqueries and in select and where clause (try to avoid in)
No calculated comparisons -- isolate indexed columns
ORDER BY and LIMIT work best with equalities and covered indexes
Separate text/blobs from metadata, don't put text/blobs in results if you don't need them
Derived tables (subqueries in the FROM clause) can be useful for retrieving BLOBs without sorting them. (Self-join can speed up a query if 1st part finds the IDs and uses then to fetch the rest)
ALTER TABLE...ORDER BY can take data sorted chronologically and re-order it by a different field -- this can make queries on that field run faster (maybe this goes in indexing?)
Know when to split a complex query and join smaller ones
Delete small amounts at a time if you can
Make similar queries consistent so cache is used
Have good SQL query standards
Don't use deprecated features
Turning OR on multiple index fields (<5.0) into UNION may speed things up (with LIMIT), after 5.0 the index_merge should pick stuff up.
Don't use COUNT * on Innodb tables for every search, do it a few times and/or summary tables, or if you need it for the total # of rows, use SQL_CALC_FOUND_ROWS and SELECT FOUND_ROWS()
Use INSERT ... ON DUPLICATE KEY update (INSERT IGNORE) to avoid having to SELECT
use groupwise maximum instead of subqueries
Avoid using IN(...) when selecting on indexed fields, It will kill the performance of SELECT query.
Prefer using UNION ALL if you don't need to merge the result

Scaling Performance Tips:

Use benchmarking
isolate workloads don't let administrative work interfere with customer performance. (ie backups)
Debugging sucks, testing rocks!
As your data grows, indexing may change (cardinality and selectivity change). Structuring may want to change. Make your schema as modular as your code. Make your code able to scale. Plan and embrace change, and get developers to do the same.

Network Performance Tips:

Minimize traffic by fetching only what you need.
1. Paging/chunked data retrieval to limit
2. Don't use SELECT *
3. Be wary of lots of small quick queries if a longer query can be more efficient
Use multi_query if appropriate to reduce round-trips
Use stored procedures to avoid bandwidth wastage

OS Performance Tips:

Use proper data partitions
1. For Cluster. Start thinking about Cluster *before* you need them
Keep the database host as clean as possible. Do you really need a windowing system on that server?
Utilize the strengths of the OS
pare down cron scripts
create a test environment
source control schema and config files
for LVM innodb backups, restore to a different instance of MySQL so Innodb can roll forward
partition appropriately
partition your database when you have real data -- do not assume you know your dataset until you have real data
Reduce swappiness of your OS

MySQL Server Overall Tips:

innodb_flush_commit=0 can help slave lag
Optimize for data types, use consistent data types. Use PROCEDURE ANALYSE() to help determine the smallest data type for your needs.
use optimistic locking, not pessimistic locking. try to use shared lock, not exclusive lock. share mode vs. FOR UPDATE
if you can, compress text/blobs
compress static data
don't back up static data as often
enable and increase the query and buffer caches if appropriate
config params -- http://docs.cellblue.nl/2007/03/17/easy-mysql-performance-tweaks/ is a good reference
Config variables & tips:
1. use one of the supplied config files
2. key_buffer, unix cache (leave some RAM free), per-connection variables, innodb memory variables
3. be aware of global vs. per-connection variables
4. check SHOW STATUS and SHOW VARIABLES (GLOBAL|SESSION in 5.0 and up)
5. be aware of swapping esp. with Linux, "swappiness" (bypass OS filecache for innodb data files, innodb_flush_method=O_DIRECT if possible (this is also OS specific))
6. defragment tables, rebuild indexes, do table maintenance
7. If you use innodb_flush_txn_commit=1, use a battery-backed hardware cache write controller
8. more RAM is good so faster disk speed
9. use 64-bit architectures
--skip-name-resolve
increase myisam_sort_buffer_size to optimize large inserts (this is a per-connection variable)
look up memory tuning parameter for on-insert caching
increase temp table size in a data warehousing environment (default is 32Mb) so it doesn't write to disk (also constrained by max_heap_table_size, default 16Mb)
Run in SQL_MODE=STRICT to help identify warnings
/tmp dir on battery-backed write cache
consider battery-backed RAM for innodb logfiles
use --safe-updates for client
Redundant data is redundant
Keep an eye on buffer pool and keybuffer hit rate

Storage Engine Performance Tips:

InnoDB ALWAYS keeps the primary key as part of each index, so do not make the primary key very large
Utilize different storage engines on master/slave ie, if you need fulltext indexing on a table.
BLACKHOLE engine and replication is much faster than FEDERATED tables for things like logs.
Know your storage engines and what performs best for your needs, know that different ones exist.
1. ie, use MERGE tables ARCHIVE tables for logs
2. Archive old data -- don't be a pack-rat! 2 common engines for this are ARCHIVE tables and MERGE tables
use row-level instead of table-level locking for OLTP workloads
try out a few schemas and storage engines in your test environment before picking one.

Database Design Performance Tips:

Design sane query schemas. don't be afraid of table joins, often they are faster than denormalization
Don't use boolean flags
Use Indexes
Don't Index Everything
Do not duplicate indexes
Do not use large columns in indexes if the ratio of SELECTs:INSERTs is low.
Split out large blob elements in InnoDB
be careful of redundant columns in an index or across indexes
Use a clever key and ORDER BY instead of MAX
Normalize first, and denormalize where appropriate.
Databases are not spreadsheets, even though Access really really looks like one. Then again, Access isn't a real database
use INET_ATON and INET_NTOA for IP addresses, not char or varchar
make it a habit to REVERSE() email addresses, so you can easily search domains (this will help avoid wildcards at the start of LIKE queries if you want to find everyone whose e-mail is in a certain domain)
A NULL data type can take more room to store than NOT NULL
Avoid NULL in index attributes. Use 0 instead
Storing flags in a database can slow down execution due to a bad cardinality. Try using bit flags
Don't store flags in a NULL and NOT NULL manner. Update from NULL -> 1 is slower than 0 -> 1
Choose appropriate character sets & collations -- UTF16 will store each character in 2 bytes, whether it needs it or not, latin1 is faster than UTF8.
Use Triggers wisely
Use delayed key wrote
use min_rows and max_rows to specify approximate data size so space can be pre-allocated and reference points can be calculated.
Use HASH indexing for indexing across columns with similar data prefixes
Use myisam_pack_keys for int data
be able to change your schema without ruining functionality of your code
segregate tables/databases that benefit from different configuration variables
Don't access the last key part in a where clause with =
Abuse the system for optimiization you're using with system dependant features like RTREE's for optimized range queries

Other:

Hire a MySQL (tm) Certified DBA
Know that there are many consulting companies out there that can help, as well as MySQL's Professional Services.
Read and post to MySQL Planet at http://www.planetmysql.org
Attend the yearly MySQL Conference and Expo or other conferences with MySQL tracks (link to the conference here)
Support your local User Group (link to forge page w/user groups here)

Authored by

Jay Pipes, Sheeri Kritzer, Bill Karwin, Ronald Bradford, Farhan "Frank Mash" Mashraqi, Taso Du Val, Ron Hu, Klinton Lee, Rick James, Alan Kasindorf, Eric Bergen, Robert Eisele, Kaj Arno, Joel Seligstein, Amy Lee, Sameer Joshi, Surat Singh Bhati

And yet

http://www.day32.com/MySQL/
http://dev.mysql.com/doc/refman/5.0/en/innodb-storage-engine.html
http://nicj.net/2011/01/20/mysql-text-vs-varchar-performance

29 правил комбинирования шрифтов

2011-10-19T21:33:00.001+03:00

Это перевод топика http://bonfx.com/29-principles-for-making-great-font-combinations/

Правила в порядке "как попало"

Комбинируйте типы шрифтов с засечками и без засечек, чтобы создать "контраст", а не "согласие". Чем более далеки друг от друга стили шрифтов, тем более удачным может оказаться ваш выбор, используйте это правило как общее, но не как непогрешимое. Шрифты, которые слишком похожи вместе выглядят плохо. Выбирайте на согласие или контрастности, но избегайте темных золотых середин, где в итоге вы получите конфликт. Посмотрите Garamond и Sabon вместе, чтобы видеть то, что я подразумеваю под "темной золотой серединой". Или попробуйте Helvetica и Univers вместе, что выглядит так же плохо.
Не используйте два шрифта с засечками или два шрифта без засечек для создания комбинации, кроме случаев, когда они радикально различаются.
Избегайте выбора двух шрифтов из одной категории, как то Script или Slabs. Вы не будете иметь достаточного контраста, что в итоге приведет к конфликту. Например, использовать Clarendon и Rockwell вместе не сильно хорошая идея.
Создайте достаточную разницу в размерах между различными шрифтами для создания контраста.
Назначте шрифтам различные роли и не меняйте их местами.
Подбирате шрифты из разных категорий так, чтобы они имели похожую x-height ака высота строчных и glyph widths (лучше прочитать статью). Например, Futura с Times New Roman несовместимы из-за большого контраста x-heights и widths, в данном случае больше из-за ширины. Однако если вы собираетесь работать с condensed шрифтом, вы можете не обращать внимания на эту проблему тк в итоге получите суперконтраст.

Ликбез вставка сперто тут

Найдите некоторые связи между основными формами. Например, оцените букву О в верхнем и нижнем регистре.

Find some kind of relationship between the basic shapes. For instance, look to the letter O in upper and lower case. Round letter O’s and taller oval O’s, in general don’t seem to like each other when creating pairs.

е-магазин, оплата visa/mastercard

2011-10-18T23:19:00.000+03:00

Маленькая зарисовка, основанная на Х-топике + его кеш на всякий пожарный.
Внутри выжимка из топика и коментов.

Выжимка: платежные агрегаторы нужны, когда нет желания/сил/возможности реализовать прием разных типов карт и их заменителей у себя на сайте. Усё
Я.бабло, вебмони, гугчекоут - можно реализовать у себя. Ну как у себя, формировать и запрашивать всю инфу у себя и отправлять на их необходимый сайт для завершения оплаты.
Для взаимодействия с visa/mc нужно найти банки интернет-эквайреры.
Приблизительный список для РФ:

Альфабанк - чтобы узнать детали, долбать коллцентр до соединения со спецом по интернет платежам.

Эти у меня не на слуху, так что думайте сами

ГазПромБанк
ТрансКредитБанк
РусскийСтандарт

Вот все что выжимается из хабры.

Перейдем к материалам из интренетов.

Гугл натолкнул меня на вот этот форум, где, собсно, собрались жаждущие эквайринга. Там и найдены были стайтьи.

Первая описывает примерно тоже что и хабра.

Интернет-эквайринг в России работает по следующим схемам:

Как видно из схемы №1 компания работает через посредников, а не напрямую с интернет-эквайером. Посредником выступает Процессинговая центр (компания). Поэтому будет взиматься двойная комиссию как эквайером, так и процессинговым центром. Как не странно большинство интернет-эквайеров работают именно по такой Lite схеме. Если вы хотите низкий процент и лучшие условия ищите схему №2, правда мало кто работает по данной схеме. Если у вас небольшой бизнес с малым оборотом, то можно выбрать надежную процессинговую компанию и работать с ней. Если бизнес большой то работать, конечно, лучше по схеме №2.
Подключайте двух интернет-эквайеров. Они могут работать как параллельно, так и один может быть как запасной вариант. В основном процессинговые компании предлагают такие услуги, которые вам обойдутся 1000-2000 руб. в месяц, но в случае чего сэкономят вам деньги и репутацию во времена сбоев одно из интернет-эквайера. Иной раз даже надежные игроки дают сбои. Если у вас миллионный оборот, день простоя может вам обойтись в сотни тысяч потерь в день.

Вторая статья по характеристикам эквайров
Ниже приведу основные критерии, курсивом отмечу условия, которые должны быть у лучшего эквайера.

Открытие счета в банке – основным условием для предоставление услуг интернет-эквайринга это необходимость открытия счета в банке эквайера.
Необязательно открывать счет в банке эквайера.
Комиссия эквайера (Вознаграждение) - она бывает разная:
а) Интернет-эквайеры берут % с каждой успешной транзакции это основная комиссия.
б) Помимо основной комиссии также может взиматься N сумму (это может быть, например 8 руб. или 10 центов и т.д.) за каждую успешно проведенную транзакцию. Поэтому уточните, какую комиссию с вас будут удерживать.
Комиссия (вознаграждение) интернет-эквайера должна быть одна и меньше либо равна 3% по основным картам.
Плата за подключение - некоторые компании берут определенную плату за подключение к их системе, поэтому данный вопрос тоже уточните.
Не взимается плата за подключение.
Обеспечительный депозит – у некоторых интернет-эквайеров это необходимое требование для сотрудничества. Вашей компании необходимо будет иметь обеспечительный депозит в банке, на котором вам придется ежемесячно держать некую сумму, размер которой определяется в зависимости от изменения размера ежемесячного (годового) оборота вашей компании по интернет платежам. В случае чего деньги с вашего обеспечительного депозита будут списаны в счет банка. Отсутствие обеспечительного депозита.
Банковские карты - также узнайте, какие принимаются банковские карты к приему платежей.
VISA, MasterCard, American Еxpress, Diners Club, JCB.
Минимальная и максимальная сумма платежа – также стоит уточнить в зависимости от специфики вашего бизнеса, так как есть ограничение по сумме транзакции и сумме транзакций в день. В основном лимит устанавливается в договоре.
Перевод денег на ваш р/с – один из важных аспектов. Деньги в основном должны приходить к вам быстро в основном это 1,2 или 3 банковских дня.
На следующий день.
Back-office - личный кабинет, в котором ваша компания в режиме онлайн будет отслеживать транзакции, делать возвратные операции, формировать отчеты и т.д.
Страны приёма платежей – по умолчанию эквайеры подключают Россию, но если вам нужны и другие страны, то этот список можно расширить.
Возврат денег клиенту - возвраты могут быть разные:
а) возврат на карту день в день, комиссия в основном не взимается.
б) возврат спустя определенное время т.е. после того как банк перечислил деньги за транзакцию на р/с вашей компании. Поэтому необходимо узнать какой % комиссии взимает интернет-эквайер за операции возврата.
Размер комиссии по возврату зависит от платежной модели, по которой будет работать ваша компания.
Выбор платежной модели - есть разные платежные модели, выбирая ту или иную модель зависимости от специфики вашего бизнеса:
а) Единая транзакция, которая позволяет перевести деньги со счета держателя на ваш счет. Это означает, что авторизация платежа и ее подтверждение осуществляются в рамках одной транзакции. В основном подходит для брокеров, интернет магазинов торгующих книгами и т.д.
б) Две транзакции — авторизация, за которой следует подтверждение. Это позволяет разнести во времени процесс авторизации операции на счете держателя карты с последующим подтверждением авторизации (например, подтверждение по факту проверки наличия товара на складе, по факту отгрузки товара, после проведения дополнительных проверок т.д.). Следует отметить, что подтверждение является основанием для перечисления денег со счета клиента, в то время как авторизация подразумевает лишь блокировку средств на счете клиента.
Брендирование платежной страницы - клиенты буду попадать на платежную страницу, сделанную под дизайн вашей компании (сайта). Мелочь, но приятно и клиенты будут видеть, что они платят вам. В этом есть некая психологическая составляющая. Есть брендирование страницы.
Маркетинговая поддержка - выбирайте интернет-эквайера с которым вы можете разработать совместные маркетинговые программы, такие как программы лояльность, ко-брендинг, использовать клиентскую базу интернет-эквайера и т.д. Есть возможность.

Третья статья - список эквайров

Интернет-эквайринг UCS - ЗАО «Компания объединенных кредитных карточек» (ЗАО «КОКК»). Одна из первых в России процессинговых компаний, основные направления включают эмиссию и эквайринг пластиковых карт таких международных платежных систем, как VISA, MasterCard, Diners Club, JCB. UCS сотрудничает с системами электронных платежей: ChronoPay, ASSIST, Uniteller и Сирена-Трэвел. Следовательно, с вас будет взиматься двойная комиссия, которая может доходить до 4%. Также компания удерживает на своих счетах сумму двухнедельного оборота, например, оборот вашей компании 1.5 млн в месяц по электронным платежам UCS из ваших платежей удержит сумму порядка 700 тыс. руб., которая будет храниться на счетах компании. Довольно большая сумма будет изъята из оборота. Если вы выберите услуги интернет-эквайринга UCS обратите на это внимание.
Интернет-эквайринг ChronoPay. Хронопей лидер в области интернет-процессинга платежей по банковским картам в европейском регионе. Помимо сотрудничества с компанией UCS сотрудничают с рядом банков, таких как ВТБ24, Мастер-Банк и т.д. С недавних пор у них начались проблемы, летом сервера упали, а под конец 2010 года подверглись DoS атакам. Впоследствии перехват основного домена, в интернет были выложен реквизиты держателей пластиковых карт. Как я уже вам говорил, день простоя может вам обойтись в сотни тысяч потерь не только денег, но и клиентов.
Интернет-эквайринг ASSIST - помимо UCS работает с рядом банков, таких как ВТБ24, Мастер-Банк и т.д. Так же высокая комиссия. Есть возможность воспользоваться сервисом кобрендинговых карт.
Интернет-эквайринг ВТБ24. Банк предоставляет торгово-сервисным предприятиям комплексные услуги в области интернет-эквайринга: внедрение, эксплуатацию и поддержку проектов эквайринга интернет - магазинов. Партнерами банка являются: «МультиКарта», Assist и ChronoPay. Вообщем опять посредничество и высокий процент. Банки в основном берут 2.5% плюс процессинговая компания 1% в зависимости от оборота.
Интернет-эквайринг PayOnline System - работает с Транс Кредит Банком. Взимается плата за подключение, а также обеспечительный депозит, но не в большом размере. Принимают пластиковые карты международных платежных систем VISA, MasterCard.

Далее приведу схему работы №2 напрямую с интернет-эквайринговыми банками.

Интернет-эквайринг Альфа-Банк. Необходимое условие это открытие счета в банке, что не совсем удобно. Прием платежей по двум банковским картам VISA, MasterCard. Высокая комиссия по сравнению с другими эквайерами, которые работают по схеме №2. Отсутствие обеспечительного депозита.

Если с банками не вышло из-за оборота или лени, рекомендую Paypal.
Для внутренних платежей они предлагают следующие предложения

Месячные продажи на сумму	Плата за транзакцию
$0.00 USD - $3,000.00 USD	3.4% + $0.30 USD
$3,000.01 USD - $10,000.00 USD	2.9% + $0.30 USD
$10,000.01 USD - $100,000.00 USD	2.7% + $0.30 USD
> $100,000.00 USD	2.4% + $0.30 USD

Для платежей из-за бугра
Табличка ниже, получена методом тыка на разные страны - все зависит от страны в которой находится ваш покупатель.

Месячные продажи на сумму	Плата за транзакцию (сноска блеать, а расшифровки нет)

$0.00 USD - $3,000.00 USD	max 4.9% + $0.30 USD
$3,000.01 USD - $10,000.00 USD (Merchant Rate qualification required)	max 3.9% + $0.30 USD
$10,000.01 USD - $100,000.00 USD (Merchant Rate qualification required)	max 3.7% + $0.30 USD
> $100,000.00 USD (Merchant Rate qualification required)	max 3.4% + $0.30 USD

Плата за получение eCheck платежей не превысит $5.00 USD за транзакцию.

eCheck - это такая хитра хрень, которая связывает ваш пайпал акк и банковский аккаунт. Идет несколько дней

Естессно, что подключение и обслуживание бесплатно, но пользователя перекидывает на сайт самого пейпала.
Есть плюшки для проведения транзакций на вашем сайте, но за это просят денег.

Если все-таки решились воспользоваться агрегатором всего и вся, то читать как минимум это

Linux skype upside down/flipped webcam on Asus laptop

2011-07-31T11:44:00.000+03:00

If running skype, the image coming out of the webcam of some of the asus laptops is upside down (flipped vertically). My camera USB information is the following:

~$ lsusb | grep Chicony
Bus 002 Device 003: ID 04f2:b106 Chicony Electronics Co., Ltd

A solution/fix is to use the libv4l library , courtesy of Hans de Goede, to call the executable. Since the available linux skype version at the moment is a 32bit executable, you will need to use the 32bit version of these libraries:

LD_PRELOAD="/usr/lib32/libv4l/v4l1compat.so" /usr/bin/skype

LD_PRELOAD="/usr/lib32/libv4l/v4l1compat.so /usr/lib32/libv4lconvert.so.0" /usr/bin/skype

On ubuntu the library can be installed by:

~$ sudo apt-get install lib32v4l-0

and on gentoo by:

~# emerge libv4l

and then as root (or sudo) do something like:

~# mv /usr/bin/skype /usr/bin/skype.real && \
echo -e '#!/bin/sh\nLD_PRELOAD="/usr/lib32/libv4l/v4l1compat.so /usr/lib32/libv4lconvert.so.0" /usr/bin/skype.real "$@"' \
> /usr/bin/skype.wrapper && \
chmod 755 /usr/bin/skype.wrapper && \
ln -s /usr/bin/skype.wrapper /usr/bin/skype

which moves the original skype to skype.real and creates a wrapper file:

#!/bin/sh

LD_PRELOAD="/usr/lib32/libv4l/v4l1compat.so /usr/lib32/libv4lconvert.so.0" /usr/bin/skype.real "$@"

microformats in web

2011-03-06T00:04:00.002+02:00

Check your site availability

2011-02-05T22:20:00.000+02:00

http://just-ping.com

Hosts

Singapore, Singapore; Amsterdam2, Netherlands; Florida, U.S.A.; Amsterdam3, Netherlands; Hong Kong, China; Sydney, Australia; Munchen, Germany; Cologne, Germany; New York, U.S.A.; Cairo, Egypt; Amsterdam, Netherlands; Stockholm, Sweden; Santa Clara, U.S.A.; Vancouver, Canada; Krakow, Poland; London, United Kingdom; Madrid, Spain; Padova, Italy; Austin, U.S.A.; Amsterdam, Netherlands; Paris, France; Melbourne, Australia; Shanghai, China; Copenhagen, Denmark; Lille, France; Zurich, Switzerland; Mumbai, India; Chicago, U.S.A.; Nagano, Japan; Haifa, Israel; Auckland, New Zealand; Antwerp, Belgium; Groningen, Netherlands; Moscow, Russia; Dublin, Ireland; Oslo, Norway; Kharkov, Ukraine; Manchester, United Kingdom; Vilnius, Lithuania; Ashburn, U.S.A.; Bucharest, Romania; Bangkok, Thailand; Kuala Lumpur, Malaysia; Jakarta, Indonesia; Cape Town, South Africa; Glasgow, United Kingdom; Lisbon, Portugal; Chicago, U.S.A.; Dallas, U.S.A.; Buenos Aires, Argentina; Istanbul, Turkey; Gdansk, Poland; Beijing, China

http://just-ping.com
http://pr-cy.ru/speed_test
http://webo.in
http://Site-Perf.com/
http://tools.pingdom.com/fpt/
host-tracker.com
http://ping-admin.ru/free_test

http://pingup.ru/

http://www.pingplotter.com/

http://downforeveryoneorjustme.com/

Check host in black lists
http://www.dnsbl.info/dnsbl-database-check.php

Don`t use PHP with Win

2011-01-28T10:32:00.003+02:00

Code Conventions for the JavaScript Programming Language

2011-01-26T09:57:00.003+02:00

copypaste
This is a set of coding conventions and rules for use in JavaScript programming. It is inspired by the Sun document Code Conventions for the Java Programming Language. It is heavily modified of course because JavaScript is not Java.
The long-term value of software to an organization is in direct proportion to the quality of the codebase. Over its lifetime, a program will be handled by many pairs of hands and eyes. If a program is able to clearly communicate its structure and characteristics, it is less likely that it will break when modified in the never-too-distant future.
Code conventions can help in reducing the brittleness of programs.
All of our JavaScript code is sent directly to the public. It should always be of publication quality.
Neatness counts.

JavaScript Files

JavaScript programs should be stored in and delivered as .js files.
JavaScript code should not be embedded in HTML files unless the code is specific to a single session. Code in HTML adds significantly to pageweight with no opportunity for mitigation by caching and compression.

адепты иконостороения

2010-12-08T09:29:00.001+02:00

http://iconwerk.de/
http://dlanham.com/
http://iconfactory.com/

Просто статья об тенденциях развития иконок
http://habrahabr.ru/company/turbomilk/blog/109511/

29 принципов для создания классных комбинаций шрифтов

2010-12-02T17:03:00.000+02:00

Перевод http://bonfx.com/29-principles-for-making-great-font-combinations/

Комбинируйте шрифты с засечками и без засечек, чтобы создать "контраст", а не "согласие". The farther apart the typeface styles are, as a generic but not infallible guideline, the more luck you’ll have. Fonts that are too similar look bad together. Go for concord or contrast but avoid the murky middle ground where all you end up with conflict. Put Garamond and Sabon together to see what “murky” means. Or try Helvetica and Univers together, which is just as bad.

Не выбирайте одновременно два шрифта с засечками или без засечек, кроме случаев когда они радикально различаются некоторым образом.

Avoid choosing typefaces from the same categories, like Script or Slabs. You won’t get enough contrast, and will end up with conflict. For instance, Clarendon and Rockwell together is not a good thing at all.

Get enough difference in point size between the various fonts to make contrast.

Assign distinct roles to each font and commit to them without variance.

Try finding fonts from different categories that have similar x-heights and glyph widths. For instance, Futura with Times New Roman just doesn’t work that well because there is too much contrast between x-heights and widths, but in this case, mostly widths. However, if you are going to work with a condensed font, you can overcome this problem because now you’ve gone for an extreme contrast.

Contrast the overall weight of the fonts. For instance, Didot and Rockwell look really bad together for many reasons, but one clearly because they both have a heavy presence and just look mad at each other on the same page.

Pay close attention to what makes your eyes dart around. If your eyes are unsettled, something is off.

Create different typographic colors. By color, I mean the overall tint a block of type has when you squint at it. If both of your type samples with different fonts blur to about the same color, try playing with font size, line spacing, kerning, or even substituting one font for a heavier or lighter one from the same typeface.

Look for clever ways to create contrast. Increase the leading or tracking of one face while decreasing the other and see what happens.

Don’t neglect the fact that using different fonts from the same typeface may also be perfectly suitable. That is why we provided them at the beginning of each font chapter in the Font Combinations book. You might do well with a Helvetica Black for a header and a Helvetica normal for your body.

Try using typefaces from the same historical period. This will take a little bit of leg work, but not much.

Don’t forget to consider how the italics of each typeface look. You might get a nice match with a bold / normal pair, but then discover that their respective italic fonts have a cat fight right in the middle of your composition. Don’t overlook this!

Fonts that are too disparate may not work at all with a large amount of copy, but might work in a logo or strictly minimal text setting.

Try your variations with larger and smaller amounts of text. Personalities multiply or get obscured with varying amounts of texts.

Study and learn the classic typefaces on their own. Print them out and stare at them at lunch. Once you know them pretty well, then think about how they work with other typefaces. You’ll know much more going in to solve your design problem.

Go for a neutral contrast where neither font overpowers the other, and they both are content to play different roles without usurping all the attention one way or another. This kind of neutral contrast allows the interior personality of each typeface to speak on it’s own.

Find a combination that you didn’t make that you like and study why it works. The answers for further combinations are likely in there for you to extrapolate. The entire web is at your disposal for this research.

Stick with high quality typefaces you know the names of. Many free or cheap typefaces are going to be missing important glyphs, and this will kick you later if you don’t take care of this up front.

Stick to two typefaces, but use the natural fonts within those typefaces. This would give you up to 8 fonts to work with: normal, bold, italic, and bold italic. You could possibly have a third very unique font used in a very limited way, such as in the header of a magazine or logo. But if you require 3 or more fonts to achieve your objective, you might be working too hard at it.

If you can’t put your finger on it, change something even if you are not sure what to change. Just change it. Keep moving, keep iterating. You’ll either find it, or change the font for something else.

Change the font sizes. At certain point sizes, a font pair might not agree at all, but at a different point size, everything falls into place.

Avoid mixing monospaced fonts with proportional fonts. Well, you can try it, but don’t say you weren’t warned. I can’t ever get combos from those styles to mix well to my eye. I want to like OCR-A with something, but OCR-A only seems to like itself with nothing.

Contrast a distinctive header sans with a neutral body serif. It’s easy to get a golden combination when following that recipe.

Don’t mix moods: work with complimentary ones. A light-hearted Gil Sans is not going to play well with an all-business Didot, at least not very easily. Either get two fonts in the same general mood, or get one with some personality and another with a neutral personality.

Look for similar proportions, out of the box, and then set the fonts in distinct roles.

Make it obvious. Typeface choices need to have clear distinctions in order for a document to be legible. If there is not enough contrast, the visual hierarchy breaks down, and the roles you assign to different fonts won’t be clear.

Break the rules. See what happens. There are no absolutes, and a clever designer can make just about any two typefaces combine to work to one degree or another.

Combine a serif and a sans serif to give “contrast” and not “concord”. The farther apart the typeface styles are, as a generic but not infallible guideline, the more luck you’ll have. Fonts that are too similar look bad together. Go for concord or contrast but avoid the murky middle ground where all you end up with conflict. Put Garamond and Sabon together to see what “murky” means. Or try Helvetica and Univers together, which is just as bad.

Don’t choose two serifs or two sans serifs to create a combination, unless they are radically different in some way.
Avoid choosing typefaces from the same categories, like Script or Slabs. You won’t get enough contrast, and will end up with conflict. For instance, Clarendon and Rockwell together is not a good thing at all.
Get enough difference in point size between the various fonts to make contrast.
Assign distinct roles to each font and commit to them without variance.
Try finding fonts from different categories that have similar x-heights and glyph widths. For instance, Futura with Times New Roman just doesn’t work that well because there is too much contrast between x-heights and widths, but in this case, mostly widths. However, if you are going to work with a condensed font, you can overcome this problem because now you’ve gone for an extreme contrast.
Find some kind of relationship between the basic shapes. For instance, look to the letter O in upper and lower case. Round letter O’s and taller oval O’s, in general don’t seem to like each other when creating pairs.
Contrast the overall weight of the fonts. For instance, Didot and Rockwell look really bad together for many reasons, but one clearly because they both have a heavy presence and just look mad at each other on the same page.
Pay close attention to what makes your eyes dart around. If your eyes are unsettled, something is off.
Create different typographic colors. By color, I mean the overall tint a block of type has when you squint at it. If both of your type samples with different fonts blur to about the same color, try playing with font size, line spacing, kerning, or even substituting one font for a heavier or lighter one from the same typeface.
Look for clever ways to create contrast. Increase the leading or tracking of one face while decreasing the other and see what happens.
Don’t neglect the fact that using different fonts from the same typeface may also be perfectly suitable. That is why we provided them at the beginning of each font chapter in the Font Combinations book. You might do well with a Helvetica Black for a header and a Helvetica normal for your body.
Try using typefaces from the same historical period. This will take a little bit of leg work, but not much.
Don’t forget to consider how the italics of each typeface look. You might get a nice match with a bold / normal pair, but then discover that their respective italic fonts have a cat fight right in the middle of your composition. Don’t overlook this!
Fonts that are too disparate may not work at all with a large amount of copy, but might work in a logo or strictly minimal text setting.
Try your variations with larger and smaller amounts of text. Personalities multiply or get obscured with varying amounts of texts.
Study and learn the classic typefaces on their own. Print them out and stare at them at lunch. Once you know them pretty well, then think about how they work with other typefaces. You’ll know much more going in to solve your design problem.
Go for a neutral contrast where neither font overpowers the other, and they both are content to play different roles without usurping all the attention one way or another. This kind of neutral contrast allows the interior personality of each typeface to speak on it’s own.
Find a combination that you didn’t make that you like and study why it works. The answers for further combinations are likely in there for you to extrapolate. The entire web is at your disposal for this research.
Stick with high quality typefaces you know the names of. Many free or cheap typefaces are going to be missing important glyphs, and this will kick you later if you don’t take care of this up front.
Stick to two typefaces, but use the natural fonts within those typefaces. This would give you up to 8 fonts to work with: normal, bold, italic, and bold italic. You could possibly have a third very unique font used in a very limited way, such as in the header of a magazine or logo. But if you require 3 or more fonts to achieve your objective, you might be working too hard at it.
If you can’t put your finger on it, change something even if you are not sure what to change. Just change it. Keep moving, keep iterating. You’ll either find it, or change the font for something else.
Change the font sizes. At certain point sizes, a font pair might not agree at all, but at a different point size, everything falls into place.
Avoid mixing monospaced fonts with proportional fonts. Well, you can try it, but don’t say you weren’t warned. I can’t ever get combos from those styles to mix well to my eye. I want to like OCR-A with something, but OCR-A only seems to like itself with nothing.
Contrast a distinctive header sans with a neutral body serif. It’s easy to get a golden combination when following that recipe.
Don’t mix moods: work with complimentary ones. A light-hearted Gil Sans is not going to play well with an all-business Didot, at least not very easily. Either get two fonts in the same general mood, or get one with some personality and another with a neutral personality.
Look for similar proportions, out of the box, and then set the fonts in distinct roles.
Make it obvious. Typeface choices need to have clear distinctions in order for a document to be legible. If there is not enough contrast, the visual hierarchy breaks down, and the roles you assign to different fonts won’t be clear.
Break the rules. See what happens. There are no absolutes, and a clever designer can make just about any two typefaces combine to work to one degree or another.

<�ol><�li><�strong>Combine a serif and a sans serif to give contrast and not concord .<�/strong> The farther apart the typeface styles are, as a generic but not infallible guideline, the more luck you ll have. Fonts that are too similar look bad together. Go for concord or contrast but avoid the murky middle ground where all you end up with conflict. Put Garamond and Sabon together to see what murky means. Or try Helvetica and Univers together, which is just as bad.<�/li><�li><�strong>Don t choose two serifs or two sans serifs<�/strong> to create a combination, unless they are radically different in some way. <�/li><�li><�strong>Avoid choosing typefaces from the same categories<�/strong>, like Script or Slabs. You won t get enough contrast, and will end up with conflict. For instance, Clarendon and Rockwell together is not a good thing at all.<�/li><�li><�strong>Get enough difference in point size<�/strong> between the various fonts to make contrast. <�/li><�li><�strong>Assign distinct roles<�/strong> to each font and commit to them without variance.<�/li><�li><�strong>Try finding fonts from different categories that have similar x-heights and glyph widths.<�/strong> For instance, Futura with Times New Roman just doesn t work that well because there is too much contrast between x-heights and widths, but in this case, mostly widths. However, if you are going to work with a condensed font, you can overcome this problem because now you ve gone for an extreme contrast. <�/li><�li><�strong>Find some kind of relationship between the basic shapes<�/strong>. For instance, look to the letter O in upper and lower case. Round letter O s and taller oval O s, in general don t seem to like each other when creating pairs.<�/li><�li><�strong>Contrast the overall weight of the fonts<�/strong>. For instance, Didot and Rockwell look really bad together for many reasons, but one clearly because they both have a heavy presence and just look mad at each other on the same page. <�/li><�li><�strong>Pay close attention to what makes your eyes dart around<�/strong>. If your eyes are unsettled, something is off.<�/li><�li><�strong>Create different typographic colors<�/strong>. By color, I mean the overall tint a block of type has when you squint at it. If both of your type samples with different fonts blur to about the same color, try playing with font size, line spacing, kerning, or even substituting one font for a heavier or lighter one from the same typeface.<�/li><�li><�strong>Look for clever ways to create contrast<�/strong>. Increase the leading or tracking of one face while decreasing the other and see what happens. <�/li><�li>Don t neglect the fact that <�strong>using different fonts from the same typeface may also be perfectly suitable<�/strong>. That is why we provided them at <�a href="http://bonfx.com/the-big-book-of-font-combinations/">the beginning of each font chapter<�/a> in the <�a href="http://bonfx.com/the-big-book-of-font-combinations/">Font Combinations<�/a> book. You might do well with a Helvetica Black for a header and a Helvetica normal for your body.<�/li><�li><�strong>Try using typefaces from the same historical period<�/strong>. This will take a little bit of leg work, but not much. <�/li><�li><�strong>Don t forget to consider how the italics of each typeface look<�/strong>. You might get a nice match with a bold / normal pair, but then discover that their respective italic fonts have a cat fight right in the middle of your composition. Don t overlook this!<�/li><�li><�strong>Fonts that are too disparate may not work at all<�/strong> with a large amount of copy, but might work in a logo or strictly minimal text setting.<�/li><�li><�strong>Try your variations with larger and smaller amounts of text<�/strong>. Personalities multiply or get obscured with varying amounts of texts.<�/li><�li><�strong>Study and learn the classic typefaces<�/strong> on their own. Print them out and stare at them at lunch. Once you know them pretty well, then think about how they work with other typefaces. You ll know much more going in to solve your design problem.<�/li><�li><�strong>Go for a neutral contrast<�/strong> where neither font overpowers the other, and they both are content to play different roles without usurping all the attention one way or another. This kind of neutral contrast allows the interior personality of each typeface to speak on it s own.<�/li><�li><�strong>Find a combination that you didn t make that you like and study why it works<�/strong>. The answers for further combinations are likely in there for you to extrapolate. The entire web is at your disposal for this research.<�/li><�li><�strong>Stick with high quality typefaces you know the names of<�/strong>. Many free or cheap typefaces are going to be missing important glyphs, and this will kick you later if you don t take care of this up front.<�/li><�li><�strong>Stick to two typefaces<�/strong>, but use the natural fonts within those typefaces. This would give you up to 8 fonts to work with: normal, bold, italic, and bold italic. You could <�em>possibly<�/em> have a third very unique font used in a very limited way, such as in the header of a magazine or logo. But if you require 3 or more fonts to achieve your objective, you might be working too hard at it.<�/li><�li><�strong>If you can t put your finger on it, change something<�/strong> even if you are not sure what to change. Just change it. Keep moving, keep iterating. You ll either find it, or change the font for something else.<�/li><�li><�strong>Change the font sizes<�/strong>. At certain point sizes, a font pair might not agree at all, but at a different point size, everything falls into place. <�/li><�li><�strong>Avoid mixing monospaced fonts with proportional fonts<�/strong>. Well, you can try it, but don t say you weren t warned. I can t ever get combos from those styles to mix well to my eye. I want to like OCR-A with something, but OCR-A only seems to like itself with nothing.<�/li><�li><�strong>Contrast a distinctive header sans with a neutral body serif<�/strong>. It s easy to get a golden combination when following that recipe.<�/li><�li><�strong>Don t mix moods<�/strong>: work with complimentary ones. A light-hearted Gil Sans is not going to play well with an all-business Didot, at least not very easily. Either get two fonts in the same general mood, or get one with some personality and another with a neutral personality.<�/li><�li><�strong>Look for similar proportions<�/strong>, out of the box, and then set the fonts in distinct roles.<�/li><�li><�strong>Make it obvious.<�/strong> Typeface choices need to have clear distinctions� in order for a document to be legible. If there is not enough contrast, the visual hierarchy breaks down, and the roles you assign to different fonts won t be clear.<�/li><�li><�strong>Break the rules.<�/strong> See what happens. There are no absolutes, and a clever designer can make just about any two typefaces combine to work to one degree or another.<�/li><�/ol> Combine a serif and a sans serif to give “contrast” and not “concord”. The farther apart the typeface styles are, as a generic but not infallible guideline, the more luck you’ll have. Fonts that are too similar look bad together. Go for concord or contrast but avoid the murky middle ground where all you end up with conflict. Put Garamond and Sabon together to see what “murky” means. Or try Helvetica and Univers together, which is just as bad.

Don’t choose two serifs or two sans serifs to create a combination, unless they are radically different in some way.