Post pobrano z: 3 friends happy to go shopping / Une idée qui a supermarché
Wszystkie wpisy, których autorem jest admin
Same headline for 2 TV stations / L’idée juste ou juste la même idée?
Post pobrano z: Same headline for 2 TV stations / L’idée juste ou juste la même idée?
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| THE ORIGINAL? France Télévisions – France2 – 2011 “Des infos justes et pas juste l’info” Click image to enlarge Agency : Royalties, Publicis Group (France) |
LESS ORIGINAL France Info Canal 27 – 2022 “Pas juste l’info. L’info juste” Click image to enlarge Agency : Movement (France) |
Scroll Shadows? Pure CSS Parallax? Game Back On.
Post pobrano z: Scroll Shadows? Pure CSS Parallax? Game Back On.
Chris calls scroll shadows one his favorite CSS-Tricks of all time. Lea Verou popularized the pure CSS approach using four layered background gradients with some clever background-attachment magic. The result is a slick scrolling interaction that gives users a hint that additional content is available in a scrollable container.
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Just one problem: it broke in Safari iOS 13. One day it was all good. The next, not so much. And that wasn’t the only thing affected. Keith Clark’s CSS-only parallax effect also stopped working right about then.
Well, reader Ronald wrote in to say that all is working once again! In fact, I’m writing this on my iPad (Safari 15.5) right now and Chris’s demo is looking sharp as ever. So is Keith’s original demo.
So, what broke it? We still don’t know. But the Safari 13 release notes offer clues:
- Added support for one-finger accelerated scrolling to all frames and
overflow:scrollelements eliminating the need toset-webkit-overflow-scrolling: touch.- Changed the default behavior on iPad for wide web pages with responsive meta-tags that require horizontal scrolling. Pages are scaled to prevent horizontal scrolling and any text is resized to preserve legibility.
When was it fixed and what fixed it? Well, on the scroll shadow side, the Safari 15.4 included some work on background-attachment: local that may have done the trick. On the parallax side, Safari 14.1 added support for individual transform properties… so maybe that?
Scroll Shadows? Pure CSS Parallax? Game Back On. originally published on CSS-Tricks. You should get the newsletter.
Recreating MDN’s Truncated Text Effect
Post pobrano z: Recreating MDN’s Truncated Text Effect
It’s no secret that MDN rolled out a new design back in March. It’s gorgeous! And there are some sweet CSS-y gems in it that are fun to look at. One of those gems is how card components handle truncated text.
Pretty cool, yeah? I wanna tear that apart in just a bit, but a couple of things really draw me into this approach:
- It’s an example of intentionally cutting off content. We’ve referred to that as CSS data loss in other places. And while data loss is generally a bad thing, I like how it’s being used here since excerpts are meant to be a teaser for the full content.
- This is different than truncating text with
text-overflow: ellipsis, a topic that came up rather recently when Eric Eggert shared his concerns with it. The main argument against it is that there is no way to recover the text that gets cut off in the truncation — assistive tech will announce it, but sighted users have no way to recover it. MDNs approach provides a bit more control in that department since the truncation is merely visual.
So, how did MDN do it? Nothing too fancy here as far the HTML goes, just a container with a paragraph.
<div class="card">
<p>Lorem ipsum dolor sit amet consectetur adipisicing elit. Inventore consectetur temporibus quae aliquam nobis nam accusantium, minima quam iste magnam autem neque laborum nulla esse cupiditate modi impedit sapiente vero?</p>
</div>We can drop in a few baseline styles to shore things up.
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Again, nothing too fancy. Our goal is cut the content off after, say, the third line. We can set a max-height on the paragraph and hide the overflow for that:
.card p {
max-height: calc(4rem * var(--base)); /* Set a cut-off point for the content */
overflow: hidden; /* Cut off the content */
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Whoa whoa, what’s up with that calc() stuff? Notice that I set up a --base variable up front that can be used as a common multiplier. I’m using it to compute the font-size, line-height, padding for the card, and now the max-height of the paragraph. I find it easier to work with a constant values especially when the sizing I need is really based on scale like this. I noticed MDN uses a similar --base-line-height variable, probably for the same purpose.
Getting that third line of text to fade out? It’s a classic linear-gradient() on the pargraph’s :after pseudo-element, which is pinned to the bottom-right corner of the card. So, we can set that up:
.card p:after {
content: ""; /* Needed to render the pseudo */
background-image: linear-gradient(to right, transparent, var(--background) 80%);
position: absolute;
inset-inline-end: 0; /* Logical property equivalent to `right: 0` */
}Notice I’m calling a --background variable that’s set to the same background color value that’s used on the .card itself. That way, the text appears to fade into the background. And I found that I needed to tweak the second color stop in the gradient because the text isn’t completely hidden when the gradient blends all the way to 100%. I found 80% to be a sweet spot for my eyes.
And, yes, :after needs a height and width. The height is where that --base variables comes back into play because we want that scaled to the paragraph’s line-height in order to cover the text with the height of :after.
.card p:after {
/* same as before */
height: calc(1rem * var(--base) + 1px);
width: 100%; /* relative to the .card container */
}Adding one extra pixel of height seemed to do the trick, but MDN was able to pull it off without it when I peeked at DevTools. Then again, I’m not using top (or inset-block-start) to offset the gradient in that direction either. 🤷♂️
Now that p:after is absolutely positioned, we need to explicitly declare relative positioning on the paragraph to keep :after in its flow. Otherwise, :after would be completely yanked from the document flow and wind up outside of the card. This becomes the full CSS for the .card paragraph:
.card p {
max-height: calc(4rem * var(--base)); /* Set a cut-off point for the content */
overflow: hidden; /* Cut off the content */
position: relative; /* needed for :after */
}We’re done, right? Nope! The dang gradient just doesn’t seem to be in the right position.
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I’ll admit I brain-farted on this one and fired up DevTools on MDN to see what the heck I was missing. Oh yeah, :after needs to be displayed as a block element. It’s clear as day when adding a red border to it.🤦♂️
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.card p:after {
content: "";
background: linear-gradient(to right, transparent, var(--background) 80%);
display: block;
height: calc(1rem * var(--base) + 1px);
inset-block-end: 0;
position: absolute;
width: 100%;
}All together now!
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And, yep, looks sounds like VoiceOver respects the full text. I haven’t tested any other screen readers though.
I also noticed that MDN’s implementation removes pointer-events from p:after. Probably a good defensive tactic to prevent odd behaviors when selecting text. I added it in and selecting text does feel a little smoother, at least in Safari, Firefox, and Chrome.
Recreating MDN’s Truncated Text Effect originally published on CSS-Tricks. You should get the newsletter.
Why I Chose Angular to Build a URL Shortener
Post pobrano z: Why I Chose Angular to Build a URL Shortener
URL Shorteners are tools we use to make links shorter than they actually are. With a URL Shortener, you can transform a long link (maybe for a registration form or article) into a shorter version.
Behind the scenes, the long and short versions of a given link have been stored in some database. Then when a user visits the short link in a browser, the URL Shortener will redirect the user to the long version of the link (where the actual content is found).
Shortened links from URL shorteners are commonly used when the long version of those links would be too long to use. Sharing links on social media or when designing flyers and adverts is a popular use of URL shorteners.
For one of my projects, I created a personal URL shortener. My intention was to use it for links to articles I write or videos I make. I used Firebase to build the backend of the URL shortener. Specifically, I used the Firestore database to store short and long versions of any given link.
To create links, I had to use the Firebase console. This wasn’t a problem but it was cumbersome for the high frequency of editing links. The user experience (UX) was not ideal. Now I was faced with a problem. How do I create, edit, and delete links? I needed to build a frontend for the URL shortener. I needed a website for this.
In this article, we’ll review the available tools used for building this frontend, decision choices, and factors that influenced why they were made.
Problem statement
The project requirements were:
- Platform/Architecture. The engineering and structure of the coding process.
- UI Toolkit. Components to use for the various parts of the UI.
- Convenience. Building the backend was not tough, so this frontend should not be either. I wanted clean code and fast development.
The First Decision Choice: Angular
Many ideas come to mind when starting out to build a frontend. In a broad sense, we could categorize frontend building options into 3 platforms:
- Website Builders – like WordPress, Wix, Squarespace, etc.
- Vanilla Building – using plain HTML, CSS, and JavaScript.
- JavaScript Framework – like React, Vue, Angular, etc.
In my experience, website builders provide a very restricted collection of widgets, components, and templates. Most website builders don’t provide an easy way to integrate an entire custom backend like Firebase. While it is possible to build impressive sites by connecting these pieces together, the degree of complexity of my project was likely beyond what these services typically provide.
Using the no-framework style or vanilla would have been a possibility. However, the deciding factor that made me not choose the pure vanilla route was that the latest non-CDN version of the Firebase JavaScript SDK (Version 9) is designed with installation via npm or yarn and module bundling in mind.
JavaScript frameworks handle frontend core parts (like routing, backend-linking, etc.) to reduce developer efforts. There are many of them and choosing which to use seemed to be a harder choice to make.
There are many JavaScript frameworks for frontend development. Examples include Angular, React, Vue, etc.
Of the available frameworks, I have the most familiarity with Angular. This is because I have used it on previous projects like:
- Choir Carol Quiz: Portal where Quiz participants competed in two online rounds of timed multiple choice questions on select Bible chapters.
- Genesys AE-FUNAI Community: Custom Form where members of Genesys Campus Club AE-FUNAI (my community) report their progress and share their achievements.
- Tutorial Management System: Simple session management dashboard between students and tutors.
This familiarity allows me to build quickly with Angular. Being able to build quickly should not be underestimated.
I chose Angular because of its Object-Oriented Programming (OOP) ability. OOP is a programming paradigm that focuses more on classes, data, or state being managed, rather than on the logic controlling the data, as is the case with functional programming. Separation of concerns is one advantage of using OOP. In other words, OOP permits encapsulation. It permits you to scope aspects of the program to peculiar domains or classes.
In Angular, components (and their lifecycle methods) are scoped to TypeScript classes. This makes you think the OOP way. The OOP advantage reflects in how Angular components serve as reusable UI units in the Angular framework. That way you see an Angular component as some self-sufficient entity that is yet part of a whole. This makes frontend development easy as various parts of the frontend app can be scoped to components and hence can be used where needed.
I also chose Angular because it uses TypeScript. TypeScript is JavaScript with features of a typed programming language. Typing in this context means a variable can’t change the kind of value it holds all through its life. For example, a variable holding a string will not all of a sudden hold a number while it is used in that program. Typing increases code quality and reduces bugs.
As a result of its type system, TypeScript reduces the time spent debugging Angular apps. It gives developer experience as the developer will have more time to build the frontend app. Debugging also becomes easy for the developer.
Note: Here is more on Object-Oriented Programming with TypeScript
Still, on Angular’s advantages, Angular apps come as a complete setup. They handle important features like bundling CSS preprocessors or Angular services by themselves. That said, when using Angular, you don’t need to configure each library independently, Angular takes care of this.
An Angular service is what Angular uses to configure dependency injection. In simple terms, dependency injection is providing an application with what it needs to function (dependencies) without the application having to take care of how the dependencies were gotten. I also chose Angular because of its out-of-the-box handling of services. So Firebase, for example, will be auto-provided to all Angular components that need without any extra configuration.
The benefits of Object-Oriented Programming, TypeScript, and dependency injection make Angular a go-to for frontend development. Coupled with the fact I was already familiar with Angular, Angular was more convenient for this URL shortener project.
Angular articles on CSS-Tricks are also part of the story. They gave me more confidence with using Angular.
The Second Decision Choice: Material Design
After choosing Angular, my next task was to consider how I would handle the user interface (UI).
I could ignore and do vanilla CSS instead but why reinvent the wheel? After all, this would defeat the reason for using a JavaScript framework – convenience.
With choosing a UI toolkit, there seems to be an ocean of options. To name a few, one can use Bootstrap, Bulma, Semantic UI, Tailwind, etc. Each toolkit has its own specifications and motivations.
For the use case of my project, Material Design led the pack.
One of the most important factors was the support for Angular and Material Design. There is an entire Angular-only specification for Material on material.angular.io (that is as a subdomain to the Angular docs itself).
I settled for Material Design because it focuses on components. Unlike other CSS frameworks, it doesn’t have CSS utility classes. This was okay because I only wanted some component kit (buttons, icons, inputs, sidebars, snack bars, etc.) Material also adds animations, ripple, and shadow effects by itself; making it more convenient than other libraries.
Furthermore, Angular Material has out-of-the-box theming support, when initializing Angular Material, you have the option of choosing a pre-defined theme for the entire Angular app or creating a custom one.
For the sake of convenience, I chose a dark theme while setting up Angular Material.
The Third Decision Choice: Reactive Forms
With a framework and toolkit decided, I turned my attention to one of the most important features of the URL shortener. The core of the URL shortener’s frontend is the form for creating and updating links.
Let’s call this form the links editor. The links editor form has only two inputs, one for the short version of a link and the other for the full URL the short version will redirect to.
For managing forms, Angular comes with two mechanisms. So instead of creating a form and handling its validation and submission as is done in vanilla HTML and JavaScript, you have to use either of the two ways Angular provides. The two methods are:
- Template-driven forms
- Reactive forms
Template-driven forms as the name imply, involve the HTML (template) code controlling the greater part of the Angular form. This approach is preferable when your form does not do much or is for one-time usage.
Reactive forms, on the other hand, provide a model-driven approach to handling form inputs whose values change over time. I needed reactive forms because it is the same form that I will use to edit different links at any point in time.
Note: Here is more material on using Reactive Forms.
At this point, the benefits of previous choices began playing out. Angular Material has form-field components. The form-field wraps the input as a component and provides animations, ripple effects, and error messages if necessary.
So I used it for the two inputs of the editor form.
The Fourth Decision Choice: Angular Material Bottom Sheet and Drawer
The final decision involved how to improve the user experience. The URL shortener would need other features like viewing all created links and their analytics. These features would require space on the screen that required me to rethink if there were better solutions to display the links editor form to the user.
If the user has no current need for the links editor form, it makes sense for the links editor form to not always be in view. This would free up space on the UI for other elements.
However, splitting this user experience into two separate pages felt disruptive. Instead, to open the links editor when needed, I added a floating action button on the page for creating links. When clicked, the button will cause the editor form to be opened in any fitting UI component.
A bottom sheet, as the name implies, is a UI component that opens from the bottom of the screen. It has interactive content the user can work it. It overlays the current view of a mobile screen (but doesn’t fully block it).
Bottom sheets are usually used in place of pop-ups if the user will spend a long time interacting with their content. So, bottom sheets are a good fit to open the editor on mobile screens. However, interacting with a bottom sheet is hard when the screen is wide. I needed a different UI component for the links editor form on wide screens.
Drawers open by the side. Using a drawer to open the links editor form on a wide screen was the go-to option. Drawers won’t be good for the editor on mobile screens. The screen’s width would be relatively small and the drawer might completely block the screen (which is not a desirable UX).
I selected these two UI components from Material Design for the form to have some responsive effect. So whether on my phone or laptop creating links would be done in a fitting UI component.
In the code, Angular checks if the device is of small screen width. If so, it opens a bottom sheet containing the links editor form. On the other hand, if the screen is wide, Angular opens a drawer containing the same form.
Using these two components brought about a minor complication. If my phone is rotated or my laptop’s browser window’s width is reduced, the form opens on the contrary UI component. That is instead of opening in a drawer in a laptop, it will open in a bottom sheet (because the browser’s width was reduced).
Maintenance, Future-proofing, Future Releases
When I thought of opportunities to iterate on this project, I ran into limitations with the current use case designed to support a single administrator. But with authentication and user accounts, it can support additional users managing links and accessing analytics.
In that case, the above choices of components will still be appropriate. The links editor is responsive so on any device, users will have a good user experience.
If I had to do it all over again, I think I would have tried out the vanilla method. Building entirely without any helpers like Angular, Material, or UI components. I would try building from scratch in HTML, CSS, and JavaScript and see if I didn’t lose out on convenience as I thought I would.
Conclusion
You can access the final Angular code here on GitHub.
This was a review of some of the main choices I made when developing my project. Of course, there is more to building the frontend of a URL shortener. But for a start, these UI components made the building process convenient. They made the links editor form responsive and could be of similar use to you in your projects (not necessarily a URL shortener).
There are many other UI components from various libraries you can use for any such project. But as with my case, if convenience is a deciding factor, you would make the right decision choice that would be fitting for the UI.
Ultimately, what shaped my decisions was understanding what my project required, knowledge of tools I had used from previous projects, and expectations with time constraints. My past experience — successes and mistakes — helped guide me too.
Cheers!
Why I Chose Angular to Build a URL Shortener originally published on CSS-Tricks. You should get the newsletter.
Roundup of Recent Document Outline Chatter
Post pobrano z: Roundup of Recent Document Outline Chatter
It’s not everyday that HTML headings are the topic de jour, but my folder of saved links is accumulating articles about the recently merged removal of the document outline algorithm in the WHATWG Living Standard.
First off, you should know that the algorithm never really existed. Sure, it was in the spec. And sure, there was a warning about using it in the spec. But no browser ever implemented it, as Bruce Lawson reminded us. We have been living in a flat document structure the whole time.
This is very old news. Adrian Roselli has been writing about the document outline myth since 2013. But it’s his 2016 post titled “There Is No Document Outline Algorithm” that comprehensively spells it out and has been updated regularly with extra nuggets of context about the conversations and struggles that got us here. This is really the best timeline of the saga. Amelia Bellamy-Royds has also delved into the roots of the dilemma in the past here on CSS-Tricks.
My mind instantly goes to all the work that’s gone into the making of a document outline algorithm that supports sectioning. Removing it from the spec is the right call for sure, but it doesn’t take away from the herculean efforts that went into it even if it is now buried in some version history. I also think about all the well-intentioned folks who have written about the algorithm erroneously over time (including on this very site!) with the expectation that it was just around the corner. There’s nearly seven years of mental and technical debt that we’ve accrued from what appear to be a lack of action.
Looking past the “news” that the algorithm is officially no more, Bruce laments that there is no generic <h> element or the like that can be sectioned to produce the correct heading level. I agree. Having an <h1> element essentially exist as an exposed <title> is constraining, particularly since pages are so rarely structured around a single article with a single top-level heading. I often find myself wincing every time I’m making some sort of card component where using <h3> might be technically correct, but feels out of order. And that’s before we even talk about the styling considerations where a lower heading level now needs to look like a distinct higher heading level.
Speaking of heading level management, Steve Faulkner (who authored the PR that plucked the algorithm from the spec) has a super practical overview of using the <hgroup> element to handle heading patterns that involve subheadings, subtitles, alternative titles, snd taglines. I’m sure you’ve seen markup like this in the wild:
<h1>Disappointingly Average</h1>
<h2>The Autobiography of Geoff Graham</h2>
<h3>by Geoff Graham</h3>That doesn’t jive with a flat document outline that’s driven by heading levels. Each one of those headings represents a section that forms a hierarchy of information:
Disappointingly Average
└── The Autobiography of Geoff Graham
└── by Geoff GrahamWhat we want instead is a group of headings. Cue the <hgroup> element:
When nested within a
<hgroup>element, the<p>element’s content represents a subheading, alternative title, or tagline which are not included in the document outline.
So, we get this structure:
<hgroup>
<h1>Disappointingly Average</h1>
<p>The Autobiography of Geoff Graham</p>
<p>by Geoff Graham</p>
</hgroup><hgroup> is role=generic at the moment, but Steve points to a proposal that could map it to role=group. If that happens, the accessibility tree will allow assistive tech to assign more semantic meaning to those paragraphs as the subtitle and tagline pieces that they are. Sounds easy but Steve notes challenges that are in the way. He also demos how this sort of pattern could be implemented today with ARIA attributes.
As long as we’re rounding things up, Matthias Ott published a few tips on creating a structured outline with headings. Check out the end for a great list of tools to check your heading outlines.
Roundup of Recent Document Outline Chatter originally published on CSS-Tricks. You should get the newsletter.
26 Best Spring Fonts for Designers (Free & Premium) – 2022
Post pobrano z: 26 Best Spring Fonts for Designers (Free & Premium) – 2022
Spring is the season of new beginnings, so why not breathe some new life into your designs with these beautiful…
The post 26 Best Spring Fonts for Designers (Free & Premium) – 2022 appeared first on Design Bombs.
How to Create a Book Jacket Template in InDesign
Post pobrano z: How to Create a Book Jacket Template in InDesign
In this tutorial, I’ll show you how to make a dust jacket for a book. Designing book jacket covers can be intimidating. Today, I’ll show you how to set up a dust jacket template that you can reuse over and over again. Using the Page Tool, we will set up every section of the jacket as its own page. This will make the jacket design template easy to alter.
I’ve also included a handy diagram to show you the dimensions and the structure of the book jacket design. Use this as a guide for your future custom book covers and book jackets!
In a hurry? We’ve got amazing InDesign book templates and dust jacket templates over at Envato Elements, just like this one:
And if you prefer to watch video tutorials, we’ve got it covered as well. The Envato Tuts+ YouTube channel has hundreds of amazing design tutorials, like this new video about how to make a dust jacket for a book:
What You’ll Learn in This Book Jacket Design Tutorial
- How to set up the structure of a book jacket template in InDesign
- How to set up Master Pages, Swatches, and Styles
- How to design a book jacket template in InDesign
- How to export a book jacket template for printing
What You’ll Need
You’ll need access to Adobe InDesign. If you don’t have the software, you can download a trial from the Adobe website. You’ll also need:
- Six faces vector illustration
- Portrait of a young woman
- Kayden script font collection
- Addington CF
- Book jacket template paragraph styles—download the .indd file from the tutorial attachments
Download the assets and make sure the font is installed on your system before starting. I’ll show you how to load Paragraph Styles later in the tutorial. When you are ready, we can dive into creating our InDesign book template!
1. How to Set Up the Structure of a Book Jacket Template in InDesign
For this tutorial, we will start by setting up the InDesign book template with one page. Later, on the Layers panel, we will set up the rest of the structure of the book jacket template, as shown in the diagram below.
Each part of the book cover template will be set up as its own page. Users will then be able to resize the book jacket cover as they need.
Step 1
In InDesign, go to File > New. Name the document Book Jacket Template and set the file to the following dimensions:
- Width to 6.375 in
- Height to 9.25 in
- Orientation to Portrait
- Units to Inches
- Pages to 1
- Uncheck Facing Pages
- Margins to 0.5 in
- Bleed to 0.125 in (it’s best to seek your professional printer’s preference)
Click Create.
Step 2
On the Pages panel (Windows > Layers), uncheck Allow Document Pages to Shuffle from the main menu. This option will allow us to move pages on the InDesign book template easily.
Step 3
On the Pages panel, add four pages to the book jacket template through the Create New Page button. Also on the Pages panel, drag the pages into a five-page spread.
Step 4
Select the Page Tool (Shift-P) from the Tools panel. Select the first page on the left and head over to the Control panel. Set the Width to 3.5 in.
Select the last page on the right with the Page Tool (Shift-P) and set the Width to 3.5 in. Use the Page Tool (Shift-P) to move the pages next to each other if necessary.
Step 5
On the Layers panel, select the spine section of the book jacket cover and head over to Layout > Margins and Columns. Set the Margins on all sides to 0.25 in. Click OK.
Step 6
Select the Page Tool (Shift-P) from the toolbar. Select the spine page and set the Width to 1 in.
Step 7
Before we start the design of the InDesign book template, we need to alter the margin settings on the front cover and back cover. We need to subtract 0.375 in order to have the design aligned in the center.
On the Layers panel, select page 2 of the InDesign book template. Head over to Layout > Margins and Columns and set the Left margin to 0.875 in. This is to account for the 0.375-inch back wrap and the 0.5-inch margin on all sides.
Repeat the same procedure on the front page of the book jacket cover. On the Layers panel, select page 4. Head over to Layout > Margins and Columns and set the Right margin to 0.875 in.
2. How to Set Up Master Pages, Swatches, and Styles
Step 1
Open the Layers panel by going to Window > Layers. We’ll organize our book cover template into three layers so that users can edit the content.
Bring up the Layers panel by going to Window > Layers. Double-click on Layer 1 and rename it Background.
In the Layers panel main menu, select New Layer. Name it Text. Click OK. Also create a new layer named Images.
Step 2
Head over to Window > Color > Swatches to expand the Swatches panel. Choose New Color Swatch button from the main menu. Set the Swatch Name and values to the following:
- Blue: C=100 M=80 Y=20 K=55
- Orange: C=0 M=75 Y=95 K=10
- Sand: C=10 M=13 Y=15 K=0
- Yellow: C=5 M=25 Y=55 K=0
Click Add and OK after you input each of the color values.
Step 3
For this custom book cover tutorial, I created a list of Paragraph Styles that you can use to format the book jacket template.
Head over to Window > Styles > Paragraph Styles to open the Paragraph Styles panel. In the main menu, select Load Paragraph Styles.
Navigate to the Book Jacket Paragraph Styles InDesign document and click Open.
In the Load Styles window, click on Check All and click OK. You’ll have a list of styles on the Paragraph Styles panel ready to be used on your custom book cover template.
3. How to Design a Book Jacket Template in InDesign
Step 1
Bring up the Rules on your custom book cover by pressing Command-R. Using the top ruler, create two guides horizontally. Sit both on the Y axis at 1 in and 2.75 in.
Step 2
In the Layers panel, select the Background layer.
Head over to the toolbar and select the Rectangle Tool (M). Draw a rectangle to cover all of the book jacket template, making sure it is touching the bleeds.
In the Layers panel, lock the Background layer and select the Images layer.
Step 3
Press Command-D to Place an object. Navigate to the Portrait of a young woman file and click Open. In the Control panel, set the Scale Percentage to 12%.
Drag the bottom center point of the frame towards the top to create a square frame. Place it under the top guide we created.
Step 4
In the Layers panel, select the Text layer.
Select the Text Tool (T) and create a text frame that fits the width of the back flap. Place this text frame under the second guide.
Using the Paragraph Styles panel, style the text with the Flap – Quote, Copy, and the Flap – Signature style.
Step 5
Using the Text Tool (T), create three text frames on the back cover. These frames will house a quote, copy, and some information in small text.
Using the Paragraph Styles panel, set the text to the Back Cover – Quote and Copy styles.
For the bottom text, set the frame to the Back Cover – Quote. Head over to the Control panel and set the Type Size to 8 pt. In the Swatches panel, set the color to the [Paper] color.
Step 6
Select the Rectangle Tool (M) from the Toolbar. Create a rectangle to include the barcode if necessary. Place this item on the Images layer.
Step 7
Using the Text Tool (T), create a text frame outside of the spine. Add the title of the book and format it using the Spine style from the Paragraph Styles.
Select the second word and head over to the Control panel. Set the Font to Kaydens Script, and set the Size to 38 pt and the Baseline Shift to -5 pt.
In the Swatches panel, set the color to Yellow. Using the Rotate Tool (R), rotate the text frame -90° and place it along the spine.
Step 8
Press Command-D to Place an image on the front cover.
Navigate to the Six faces vector illustration file and click Open. Using the Selection Tool (V), move the frame to crop closely around any one of the portraits.
Resize the image to fit the front cover of the book cover template. Press Shift-Command to resize the image proportionally and drag from any of the corners. Place the image on the bottom margin.
Step 9
Create two text frames for the word „the” and „Secret”. Set both frames to the Front Cover – Title Line 1 style on the Paragraph Styles panel.
Select „the” and head over to the Control panel. Set the Font Size to 55 pt. Place both frames next to each other, creating good harmony between the two words.
Step 10
Create a text frame under the first line for the rest of the title. Set the style on the Paragraph Styles panel to Front Cover – Title Line 2.
Step 11
Add a final text frame under the title to include the author’s name. Use the Paragraph Styles to format the frame to the Front Cover – Author style.
Step 12
Select the title and press Command-G to Group the frames. Duplicate them by pressing Option and dragging them to the front flap.
Head over to the Control panel and set the Scale Percentage to 45%.
Using the Text Tool (T), create a text frame under the title on the inside flap. Using the Paragraph Styles panel, set the text to the Copy style.
4. How to Export a Book Jacket Template for Printing
Before exporting the book jacket template for printing, it’s useful to take a look around all the edges. This is to make sure all the images and vectors bleeding out are touching the bleeds. I advise you to consult your printer for any specific settings.
Step 1
To export the file, go to File > Export. Name the file Book Jacket Template and choose Adobe PDF (Print) from the Format dropdown menu. Click Save.
Step 2
In the Export Adobe PDF window, set the Adobe PDF Preset to Press Quality. Under Pages, set the Export As option to Spreads.
On the left side of the panel, select Marks and Bleeds. Check All Printer’s Marks and Use Document Bleed Settings. Click Export. You will have a ready-to-print PDF file.
Great Job! You’ve Finished This Book Jacket Design Tutorial!
In this tutorial, you learned how to make a book jacket. We covered key tools that will help anyone edit a book jacket design template quickly and easily. Today, you learned to:
- set up a ready-to-print InDesign book jacket template file
- load Paragraph Styles to format text
- add Color Swatches
- organize multiple Layers
- create a multiple-page spread in the Pages panel
- use the Page Tool to resize pages
5 Top Book Jacket Design Mockups and Templates
Now that you know everything about book jacket making, you might be in search of digital resources that help you save time.
Envato Elements is a fantastic source for book jacket design templates. This subscription-based marketplace offers you unlimited downloads for a flat fee.
Download InDesign book templates, book cover templates, and jacket design templates—and of course, premium fonts, add-ons, and more. Here are just five of our favorite dust jacket template mockups to show off your brand new designs!
1. Book Mockup Dust Jacket Template Edition (PSD, JPG)
Book jacket making gets so much easier with this template. Once you have your book jacket design ready after this tutorial, you can try this cool mockup to see it in 3D. The download includes eight PSD presentations and a total of 15 different book mockups which are 100% editable.
2. Book Jacket Mockup (PSD)
Here’s another fantastic dust jacket template. No need to worry about how to make a book jacket with this mockup. This book jacket making kit features:
- nine photorealistic presentations
- 114 x 186 mm natural page size
- Photoshop CS4 or higher compatible
- 3000×2008 pixel resolution in 300 dpi quality
- easy and fast editing via smart objects
- organized layers and folders
3. Dust Jacket Book Mockup (PSD)
Do you need a premium mockup after learning how to make a dust jacket for a book? This book jacket design template is a great one. It features:
- six PSD mockup files (4500×3000 px)
- Photoshop smart objects
- size 6 x 9 in
- 6 different scenes
- replaceable background texture
- adjustable shading and lighting
4. Small Hardcover Book With Dust Jacket Mockups (PSD)
Here’s a beautiful book jacket design mockup if you’ve got a smaller book design. The download includes five PSD book mockups you can easily edit thanks to the smart object layers.
5. Digest Size Book With Dust Cover Mockups (PSD)
You’ve finished your top book jacket design, and you want to present it in a professional way. This dust jacket template is what you need. It’s specially designed for a digest size book (approximately 14×21 cm) and it features:
- four PSD mockups
- different poses in each mockup
- organized layers
- realistic effects and shadows
- changeable background
- smart objects
Discover More Book Design Tutorials
If you liked this tutorial on how to make a book jacket, you might like these:
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How to Make a Book in InDesign
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15+ Best Book Covers to Design Online With a Maker App
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Learn How to Design a Book Cover in Our Latest Course
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How to Make a Book Cover
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How to Choose a Font for a Book Cover (Best Fonts for Books)
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27 Best Book Mockups Using a Book Mockup Generator
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27 Best Recipe & Cookbook Templates to Download (Word, InDesign)
Daisy Ein08 Oct 2021 -
28 Best InDesign Book Templates (Layout & Cover Templates)
Melody Nieves27 Mar 2020
Editorial Note: This post has been updated with contributions from Maria Villanueva. Maria is the Associate Editor of the Tuts+ Design channel.
What Fonts Are Trending Now and Font Trends for 2022
Post pobrano z: What Fonts Are Trending Now and Font Trends for 2022
If you’re looking to update your font book, consider this your ultimate guide to the most popular fonts right now and brand new trending fonts for 2022. Last year was a fantastic year for cool and quirky type, and in 2022 there’s also plenty to get excited about in the world of type, from Arabian-style scripts to chunky retro display fonts.
To compile our report on the latest trending fonts, we analyzed search data to identify current typography trends and emerging type styles, bringing you the fonts that will define the voice of brands, websites, logos, and print media in the near future. Stay ahead of the curve with this report on font trends for 2022, and discover your next favourite font to use in your design projects.
Looking for your next type infatuation? Explore a huge range of trendy popular fonts for both web and print with a subscription to Envato Elements.
And if you prefer to learn about trending fonts by watching videos, then you need to check out this video from the Envato Tuts+ YouTube channel:
Font Trends 2021: What Were the Trending Fonts?
After a nearly write-off year for font trends in 2020, a unique and individualist spirit pervaded typography in 2021, with distorted and kinetic fonts being just two of the distinctive type trends that helped to give brands a unique voice in a crowded online market. The pandemic fostered a greater sense of locality for consumers as the work from home (WFH) community exploded, while continuing global anxieties led to more interest in brands that were able to offer genuine intimacy and connection with their customer base.
Distinctive and eccentric type styles continue to have traction in the post-pandemic world, but generally we’re starting to see a movement towards more subtle interpretations of the trend for quirk.
The downside of ultra-eccentric type is that style can often be at the expense of substance. Distorted fonts might look cool, but they can also be difficult to read on a small screen. For businesses looking to connect with a wider customer base, accessibility is at the forefront of their branding strategy. In the last couple of years, a range of global businesses, including Uber, Santander, and Badoo, have moved towards simpler, friendlier brand identities with type that reflects a more inclusive aesthetic.
Font Trends 2022: What Are This Year’s Most Popular Fonts?
In 2022 typography trends, we can expect to see a move away from illegible novelty fonts and towards type that is more honest, legible, and inclusive. As the online market becomes increasingly crowded, big brands are shifting towards identities that work better on digital platforms, and type plays a major role. Rounded sans serifs are welcoming and UX-friendly, while fluid, simple scripts and rustic serifs replace fussier serif styles.
Still yearning for an eccentric typeface? Retro styles are going extra chubby and huggable, while the (long-delayed) release of Wes Anderson’s The French Dispatch helped to ignite a craze for all things 1950s and French—channel the look with quietly quirky fonts inspired by vintage journalism.
We predict the most popular 2022 font trends will have an open and honest personality, with legibility and web accessibility a priority. Of course, that doesn’t mean style goes out the window. Quite the opposite—these 2022 fonts trends may be subtle, but they’re all supremely stylish:
- Rounded Sans Serifs
- High-Contrast Serifs
- Quietly Quirky
- Fluid and Simple Scripts
- Rustic Serifs
- Strong and Simple Sans
- Chubby Retro
We expect to see examples from all of these font groups across print, branding, packaging, and web design in 2022. Read on to explore these exciting font trends in detail and stay ahead of the type curve.
Font Trend 1: Rounded Sans Serifs
Honest, open, and inclusive, these rounded sans serifs reflect the shift towards fuss-free branding in 2022. Rounded fonts used to be the preserve of child-focussed products, but these more grown-up incarnations of the rounded type style strike the perfect balance between friendly naivety and geometric style.
Ideal for use across a wide range of branding projects, this current font trend is also ultra-legible, boosting online accessibility for visually impaired readers. Use it for logo design, apps, brochures, and ads.
If you like these latest trending fonts, check out this article with more cool rounded sans serif fonts:
Font Trend 2: High-Contrast Serifs
Here’s the next 2022 font trend: taking inspiration from Japanese typefaces, these achingly elegant high-contrast serif typefaces bring a literary personality to print and web projects.
These impactful fonts balance traditional and contemporary style, making logo and brand designs feel both timeless and cutting-edge, perfect for brands that want to look a bit older than their establishment date. High-contrast serifs also work beautifully for body type on websites, and they’re easier to read than old-style serifs. These are some of the best fonts of 2022 that follow the trend:
Font Trend 3: Quietly Quirky
With Wes Anderson’s much-anticipated tribute to journalism, The French Dispatch, released at the end of 2021, no doubt we can expect to see a wave of designs paying tribute to the rustic, mid-century character of its French setting. Anderson’s graphic designer Erica Dorn created beautiful poster artwork for the film, featuring illustrations by Javi Aznarez, which are embellished with kookily hand-drawn type in a typewriter-inspired, serif style.
These quietly quirky font styles will help you to channel a cosy vintage style in your designs in 2022. Look for traditional serifs and sans-serifs with subtle quirks. If the characters have a slightly hand-crafted wobble, you’re on the right track. Let’s see some of the best fonts of 2022 for this one:
Font Trend 4: Fluid and Simple Script
Speaking of cool typography trends, another one that’s been brewing since 2021 is the use of very silky, fluid script fonts that blend elements of Art Nouveau with calligraphic style. These trending script fonts are beautiful and poetic, allowing you to incorporate artistic type into your designs.
In 2022, we’ll see these scripts become even more fluid and simple, with a strong Arabic influence in the styling. These display fonts can be used to embellish packaging, product photography, or websites, and look fantastic layered over photography. They are elegant and only sparingly cursive, making them more legible than fancier script styles. Here are the top 2022 fonts for this elegant trend:
Font Trend 5: Rustic Serifs
One of the biggest font trends for 2020 was carved, sculptural serifs which looked as if they had been chiselled from stone. While we’ve now reached sculptural saturation point, the serif trend isn’t going anywhere. If you love the look of sculptural serifs but are on the hunt for something a little more trend-leading, let me introduce you to the rustic serif.
Quietly elegant with a small dose of perfected imperfection, these serifs take their cues from European cafe signage. Informal and effortlessly pretty, these new trending fonts can be used to bring more character to print designs such as posters and book covers. These trendy popular fonts have a handwritten quality without appearing hand-drawn, making them an excellent font choice for communications that need to feel warm and personal, such as portfolio websites, resumes, or casual event marketing. Let’s take a look at the latest trending fonts:
Font Trend 6: Strong and Simple Sans
After a year of distorted, novelty fonts, there’s no fresher breath of air than a strong and simple sans serif. This current font trend features bold, impactful fonts that are best used for headlines, and are the perfect match for corporate designs or layouts that need to get to the point quickly.
Team your bold, simple serif with high-contrast colour pairings such as black and white or acid neons to maximise its powerful personality. Sports branding, game marketing, technology branding or corporate websites will all benefit from the simple impact of a modern sans serif.
Font Trend 7: Chubby Retro
The power of nostalgia marketing has only grown stronger during the pandemic, with consumers increasingly turning to vintage-styled products and designs to feel comforted. While overly retro fonts can feel a little too gimmicky right now, fonts that subtly reference 1970s type styles still feel fresh.
We predict that retro-inspired fonts will also go super-sized in 2022, with chubby retro fonts being used to add a serious dose of cheer and optimism to logos, packaging, signage, and websites. If you’re looking for a font trend to put a smile on your face in 2022, these chubby retro typefaces will certainly lift your mood. Here are the best 2022 fonts for this retro trend:
Conclusion: The Font Trends for 2022
After font trends in 2020 and 2021 prioritised eccentricity, the best fonts of 2022 will have a quieter but no less impactful mood. Legibility, clarity, and an open, honest personality will help consumers to feel welcomed and comforted by brands, particularly ones they might not have encountered in the crowded digital market before.
Despite the subtler mood pervading typography in the year ahead, there are still plenty of type choices that will bring personality and character to your designs. Chubby retro fonts bring a much-needed dose of optimism, while rustic serif fonts, simple scripts, and quietly quirky display fonts will bring warmth and friendliness to your projects, as well as a serious style hit.
Wondering how to use these trendy popular fonts in 2022? Less is often more, so prioritise elegance and warmth over novelty styles. Your designs—and clients—will thank you for it!
Discover more 2022 font trends for web design and print projects on Envato Elements.
Subscribe to Envato Elements Now
On the hunt for more font inspiration? Read up on what fonts are trending, our edits of the best font styles on the internet, and typography tips to help you make your type designs better than ever:
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How to Design a Square Folded Cross Brochure
Post pobrano z: How to Design a Square Folded Cross Brochure
The square cross fold brochure is a great way to get your business noticed. In this tutorial, I will teach you how to design a square folded cross brochure in Adobe InDesign. You will learn how to set up your document by applying guides and diecuts and placing property photos, and then you will learn how to design a real estate brochure template.
Designing a cross fold brochure can be time-consuming, but it doesn’t have to be. Skip the tutorial and grab this amazing Real Estate Square Folded Cross Brochure on Envato Elements. Envato Elements has an extensive collection of professionally designed brochure templates ready for you to customize.
What You’ll Learn in This Square Cross Fold Brochure Tutorial
- How to set up diecuts and guides in InDesign
- How to format and place photos in InDesign
- How to lay out and design a 4-fold brochure
What You’ll Need to Create a Square Folded Cross Brochure
- Modern house with pool
- Bathroom inside house
- Summer evening on terrace
- Bedroom with bed
- Villa interior
- House with pool and deck
- Himalaya Font
- Magnify Font
- Nostalgic Memories Font
- Geometric pattern
- Map of the world
- Real estate logo
1. How to Set Up Diecuts and Guides in InDesign
Step 1
Open InDesign and create a new document (File > New). Make the Width and Height of your 4-fold brochure 17.1875 in, 2 Pages, 0 in Margins, and 0.125 in Bleed on all sides.
Step 2
In the Layers panel, rename ’Layer 1’ to ’Artwork’. Create a new layer and name it ’Diecut’. Uncheck the Print Layer box. Create another layer and name it ’Guides’ and uncheck the Print Layer box.
Step 3
On the Diecut layer, create a 5.75 in square using the Rectangle Tool (M). Change the Fill to None and the Stroke to the pink color swatch in the Swatches panel. Change the Stroke Weight to 0.5 pt. Make sure Smart Guides are turned on by going to View > Grids & Guides > Smart Guides. Place the square in the middle of the document. The pink guide line will be where the brochure will fold.
Step 4
Copy (Command-C) and paste (Command-V) this square, but change the stroke to green in the Swatches panel. This guide shows where our document will be cut. Change the size of this square to 5.8508 in Width and 5.75 in Height. Move it to the right of the first square. This will be our cover. The cover should extend all the way to the bleed area.
Step 5
Copy (Command-C) and paste (Command-V) the square again. The next three squares will be smaller than the first two squares because they have to fit on top of one another once folded. Place this square at the top of our document. Change the Width to 5.6 in and the Height to 5.8508 in.
Step 6
Create two more squares for the left and bottom panels. Add labels to your document like the image below. This will help you remember how your document folds and which panels are paired with one another.
Step 7
Copy (Command-C) and Paste in Place (Edit > Paste in Place) the pink diecut square and the green fold squares to the second page of our square cross fold brochure. Next, go to Object > Transform > Flip Horizontal so that the inside of our cover is now on the left side. Label the second page as we did the first.
Step 8
Select the Guides layer in the Layers panel. Create four blue squares with an Opacity of 20%. This will show us how far we need to extend the bleed area. Use these sizes for the squares:
- Cover: 5.8508 in Width, 6 in Height
- A1: 5.8508 in Width, 5.85 in Height
- B1: 5.85 in Width, 5.8508 in Height
- C1: 5.85 in Width, 5.8508 in Height
Step 9
Create four more squares and Fill them with yellow with an Opacity of 20%. We will use this yellow square to mark our safe margins. We will keep all the important information within this guide so it doesn’t get cut off. Use these dimensions:
- Cover: 5.2258 in Width x 5.25 in Height
- A1: 5.2188 in Width x 5.1 in Height
- B1: 5.1 in Width x 5.2188 in Height
- C1: 5.1 in Width x 5.2188 in Height
Step 10
Next, Copy (Command-C) and Paste in Place (Edit > Paste in Place) the yellow and blue guides on the second page. Next, go to Object > Transform > Flip Horizontal as we did in the previous step so that your second page looks like the image below.
2. How to Format and Place Photos in InDesign
Step 1
Open the house with a pool and deck photo in Adobe Photoshop. Change the image to CMYK by going to Image > Mode > CMYK Color. Make sure the image has a Resolution of 300 by going to Image > Image Size. Change the Resolution to 300 and make sure Resample is unchecked. Save this file as a TIFF. Apply these same settings to the rest of the photos we’re using in this cross fold tutorial.
Step 2
Go back to InDesign. Select the Artwork layer and create a frame on the cover using the Rectangle Frame Tool (F). Make the frame the same size as the bleed layer. File > Place the cover image we just saved as a TIFF and resize it so that it’s 38% smaller.
Step 3
Place the remaining 5 photos on the outside panels and the inside back (second page). Make sure you turn the outside panels B1 and C1 upside down because once we fold it, the panels will be right side up.
3. How to Lay Out and Design a 4-Fold Brochure
Step 1
Open the real estate logo in Adobe Illustrator, and change the color to C27 M0 Y0 K17. Copy (Command-C) and paste (Command-V) the icon into InDesign and place it at the top of the cover. Select the Type Tool (T) and add the name of your real estate business using Magnify Bold, 11 pt, and 150 Tracking.
Step 2
Add headers to the four panels using Himalaya and Magnify Bold. Rotate the type by 8°. Select the Glyphs panel (Window > Type & Tables > Glyphs) to use alternate glyphs for the letters 'e’, 'W’, 'D’, 'A’, and 's’.
Step 3
Add the contact information to the back cover along with the logo using the Paper swatch. Use the Pen Tool (P) to create two dividers on either side of the contact information. Use a 1 pt Stroke and Arrowhead for the Start/End points. Create a horizontal rectangle and Fill it with Black. Change the Opacity to 60%. Go to Object > Effects > Gradient Feather and apply a Linear 90° Gradient Feather. Change this layer’s Transparency to 60% and the Blending Mode to Multiply.
Step 4
Let’s move to the second page of our square folded cross brochure. Add purple and green background colors to the panels. Click the hamburger menu in the top-right corner of the Swatches panel and select New Color Swatch. Add two colors, C85 M100 Y32 K17 and C85 M27 Y54 K19. Add the blue logo to each panel and change the Opacity to 50%.
Step 5
Install the PAT file from the geometric pattern folder in Adobe Photoshop. To install the pattern, go to Window > Patterns to open the Pattern panel. Select the hamburger menu, click Import Patterns, and select the PAT file.
Create a new document in Photoshop. Go to File > New and create a 6 x 6 in, 300 Resolution, CMYK document. Drag and drop the pattern onto the document. Double-Click the pattern thumbnail in the Layers panel and change the Scale to 56%. Save this file as a TIFF.
Step 6
Go back to InDesign and File > Place the pattern file we just saved. Change the Opacity to 15%. Add a Radial Gradient Feather by going to Object > Effects > Gradient Feather. Copy (Command-C) and paste (Command-V) this same pattern onto the other panels.
Step 7
Add the information about your business to the panels using Himalaya, Magnify Regular and Nostalgic Memories. Create vertical dividers on the B2 panel using the Pen Tool (P). Use 0.5 pt for the Stroke Weight and the Swatch C12 M33 Y85 K17.
Step 8
Open the vector map in Illustrator. Copy (Command-C) and paste (Command-V) the map and location icons on the A2 panel. Label the map with several locations. Create the 0.55 pt Arrowhead dividers using the Pen Tool (P).
All Done! Time to Display Your Beautiful Creation!
Great job following my how to create a cross fold brochure tutorial in InDesign. Now it’s time to display it for all the world to see. Check out this minimalist mockup from Placeit below. Take your designs to the next level and showcase your designs in the best way possible.
5 Brochure Templates to Save You Hours of Work
Whether you’re a freelance designer or an entrepreneur with a product to sell, the last thing you need is more work. That’s why I put together a list of five brochure templates for you to quickly create high-quality marketing materials for your business. They’re easy to customize and print-ready, so you can spend less time designing and more time doing what you love.
1. Metro Cross Fold (INDD)
Looking for a way to make your business stand out? Download this professional, high-quality brochure folding template. It’s easy to edit and customize with your own content, and it’ll dazzle your customers and clients.
2. Business Cross Fold (INDD)
You don’t have time to waste on designing a cross fold brochure for your business. That’s why you need this professional and easy-to-edit brochure template. With this, you can spend more time building your business and less time designing.
3. Square Trifold Brochure (PSD)
Trying to stand out in the crowded market? WOW your customers and clients with this easy-to-edit square trifold brochure. With eye-catching panels, you can easily show off your business credentials, benefits, and services.
4. Yacht Trifold Square Brochure (INDD)
What’s the best marketing tool you have? Your brochure. You know that brochures are the most effective way to communicate your message, products and services while also increasing your branding efforts. Sail away in style with this high-quality yacht trifold brochure template.
5. Square Bi-Fold Brochure (PSD)
Here’s a one-stop shop for all your marketing needs. This easy-to-edit template is guaranteed to impress your customers and clients. With a professional and high-quality design, all you have to do is fill in the details and send it out!
Design Brochures Like a Pro With These Resources!
Brochures are a great way to promote your business and get new clients. But sometimes, it can be hard to know how to design them or what you need to include. That’s why I put together this list of tutorials, templates, and other resources for designing brochures!
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42 Best Square Brochure Mockups (Square Flyer and Catalog Mockups)
Nona Blackman11 Mar 2022 -
How to Make a Brochure
Grace Fussell15 Sep 2021 -
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20 Best Free Real Estate Brochure Design Templates (Download for 2022)
Tomas Laurinavicius14 Feb 2022 -
20+ Best Brochure Design Tutorials (Adobe Creative Cloud and Affinity Publisher!)
Nathan Umoh28 Jul 2021 -
How to Create a Flower Brochure Design
Ashlee Harrell23 Feb 2022
