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Microsoft 98-383 : Introduction to Programming Using HTML and CSS Exam

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Exam Number : 98-383
Exam Name : Introduction to Programming Using HTML and CSS
Vendor Name : Microsoft
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98-383 test Format | 98-383 Course Contents | 98-383 Course Outline | 98-383 test Syllabus | 98-383 test Objectives

Understand HTML Fundamentals (10-15%)
Construct markup that uses metadata elements
Script; noscript; style; link; meta tags, including encoding, keywords, viewport, and translate
Construct well-formed markup that conforms to industry best practices
DOCTYPE declaration; HTML; head; body; proper syntax, including closing tags and commonly used symbols; comments
Understand CSS Fundamentals (15-20%)
Analyze the impact of using inline styles, internal style sheets, and external style sheets
When to use inline styles; when to use internal style sheets; when to use external style sheets; precedence when using a combination of inline styles and style sheets
Construct and analyze rule sets
Valid syntax for the CSS rule set; selectors, including class, id, elements and pseudo-class
Construct well-formed style sheets that conform to industry best practices
Reusing rules and rule sets; commenting; testing on multiple browsers; web safe fonts
Structure Documents Using HTML (30-35%)
Construct and analyze markup to structure content and organize data
Table tags; h1-h6; p; br; hr; div; span; ul; ol; li
Construct and analyze markup that uses HTML5 semantic elements
Semantic tags; header; nav; section; article; aside; footer; details; summary; figure; caption
Construct and analyze markup that implements navigation
Image links; a; target; bookmark; relative versus absolute links; navigating simple folder hierarchies
Construct and analyze markup that uses form elements
Form attributes; action; method; submission methods; accessibility; input types and restrictions; select; textarea; button; output; option; datalist; fieldset
Present Multimedia Using HTML (10-15%)
Construct and analyze markup that displays images
img and picture elements and their attributes
Describe the appropriate use of the img, svg, and canvas elements
Construct and analyze markup that plays video and audio
Video; audio; track; source; simple iframe implementations
Style Web Pages Using CSS (20-25%)
Construct and analyze styles that position content
Positioning, including float, relative, absolute, max-width, overflow, height, width, and align; inline versus block; visibility; box model, including margins and padding
Construct and analyze styles that format text
Font-family; color; font-style; font-size; font-weight; link colors; text formatting, including text alignment, text decoration, and indentation
Construct and analyze styles that format backgrounds and borders
Border-color; border-style; border-width; backgrounds; divs; colors
Analyze styles that implement a simple responsive layout
Units of measure; responsive effects with CSS, including viewport and media query; percentages versus pixels; frameworks and templates; max width

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Microsoft Introduction course outline

Digital class decade | 98-383 dumps collection and Study Guide

For a short period between the buoyant late 1980s and the financial downturn of the early Nineteen Nineties there existed an unheard of typographic euphoria. suddenly, for a relatively small funding in hardware and application, designers had been in a position to marshal the business’s general class know-how from their computers (thanks partly to the de-encryption of Adobe’s PostScript category 1 utility). For a few years this capacity became exploited to the whole and the influence become an exhilarating rush of intensive typographic invention.

A 1992 article by means of Robin Kinross (Eye no. 7 vol. 2) described the heady early years of gadget-unbiased digital type and a newly reordered typographic panorama wherein traditional firms (akin to Monotype, Berthold and Linotype-Hell) had been pressured to slim down, merge or are seeking for out niches in a market that they had formerly dominated. of their region had emerged utility firms (Adobe mostly, and Apple and Microsoft to a lesser extent) who had arrived at type nearly inadvertently during the building of desktop publishing know-how and now have been required to soak up the slack. Most modern of all changed into the upward push of the impartial classification clothier, individuals similar to Zuzana Licko who had seized the design initiative. Kinross referred to as the then-existing adjustments ‘as profound as any at some stage in [typography’s] 550-year history’.

The digital technologies added in the late 1980s didn't simply exchange the circumstances by which classification became being designed and dispensed, they additionally modified dramatically the situations through which category became getting used. although it had appeared within the early years as if the utility giants have been going to occupy the typographic excessive ground left vacant with the aid of the demise of the historical defend, it quickly became obvious that this changed into no longer going to be the case. considering that 1992 lots of the ordinary classification firms have been reduced to venerable labels connected to static libraries, and although Monotype continues to thrive in the guise of Agfa Monotype service provider (1) (a totally owned subsidiary of the Agfa organisation, which has been determining up different companies alongside the manner including itc), it does so in a kind that bears little resemblance to its former self. the place as soon as Monotype centered advertising and marketing at a group of classification professionals, it now works with working methods manufacturers to provide core fonts: the skill to computer post and collect doable web sites.

over the past decade it has turn into evident that utility corporations will in no way turn into the white knights of typography. in the instance of Adobe, it gave the impression that the utility created via the category crew changed into at odds with the utility items made by means of the leisure of the enterprise; the former focused the expert, while the latter aimed to open up the activities of design and print to as wide an audience as viable. Given industrial imperatives, these groups have the materials to create brilliant products; get rid of the earnings purpose and their consideration strays in other places. Interviewed in 1995, Adobe’s Bur Davies recalled a length between 1989 and 1991 (when the sale of Adobe’s PostScript kinds went ‘throughout the roof’) which changed into adopted by means of a sharp downturn in 1992 when financial recession and competitors mixed to lower revenues. The penalties have been immediate, the type group changed into cut to 12 individuals and their design programme became significantly reduced. by using the mid 1990s the alluring category booklets that Adobe had once produced to advertise their Originals range had been replaced via shiny leaflets promoting enjoyable varieties.

The present emphasis of type design at Adobe, where a number of key participants of the long-established heavyweight category team do continue to work, is to showcase developments in category technology, in certain these technologies that are unwieldy and forbidding to impartial class designers. probably the most essential of those is OpenType. introduced in 1997, this font structure become developed collectively with Microsoft to handle the difficulty of move-platform incompatibilities of the latest PostScript and TrueType formats. Its aim changed into later prolonged to work with the greater foreign ordinary personality set of Unicode, which is designed to assist the interchange, processing and screen of written texts of all languages. Unicode v.3.1 contains 94,a hundred and forty characters – adequate for all of the languages on the earth.

main exact additions to the Adobe category library include Robert Slimbach’s ‘full-featured, state of the artwork OpenType household’ Warnock – a typeface that brings collectively classic proportion and contemporary element named after the co-founding father of Adobe techniques John Warnock – and Carol Twombly’s Chaparral – an OpenType face that mixes sturdy slab serifs with varying letter proportions. each are purchasable faces imbued with the entire elements that the OpenType layout allows. (2)

as well as growing designs in new font formats, a local by which the large application agencies continue to make the operating is within the design of type for the reveal. among the most accepted and extensively admired of contemporary reveal fonts are Matthew Carter’s designs

for Microsoft: Verdana (sans serif) and Georgia (serif). The method through which these fonts are allotted has echoes of the proprietary fashions that were the norm within the pre-PostScript period: simply as fonts had been as soon as sold together with typesetting device, Carter’s fonts are distributed by using Microsoft alongside their browser. The dominance of the software corporations in the field of monitor fonts looks prone to proceed as best these businesses have access to the extraordinarily wide channels of distribution that are required if such fonts are to be a hit.

The underlying system behind all of Carter’s Microsoft fonts become the equal. starting out through making simple bitmap fonts on the three sizes that Microsoft considered to be the most crucial for text on the display, Carter embellished these fonts with bitmapped italic, bold and bold italic models. It was simplest after these bitmap fonts had been permitted that Carter wrapped a vector define around them and passed them on to Tom Rickner, an authority in hinting class for the screen, who created the scaleable models. Carter has argued that the chief virtue of working this way isn't so plenty evident within the sorts of the letters, however in their spacing, which remains general based on their underlying bitmap. The assistance design advisor Andrew Boag of Boag associates describes Carter’s formula as ‘bottom-up’ design. however he acknowledges the want for Carter’s fonts and the appreciable merit of the dressmaker’s work, Boag argues that the bottom-up approach has its limits: there's a ceiling on the variety of distinctive letterforms you can make from a constrained grid. As an alternative, Boag recommends the ‘accurate-down’ method, which contains hinting common typefaces for monitor use.

one of the most core options of the appropriate-down approach is greyscaling, rendering letterforms in pixels of various tiers of depth. here's a technique that comes into its personal on low-decision, shade screens of the kind which are the norm on desks around the globe, notably when appearance is extra essential than absolute legibility. Boag’s writing about this is blanketed in his site. (three)

different traits in monitor classification consist of the typefaces designed for hand-held displays, akin to those on cell phones and palm pilots. As these contraptions are used as a way of entry to ever wider sources of advice, their typographical characteristics turn into further and further essential. because they are used at a preset sizes and need not be scaleable, the fonts that appear on these displays are notably handy to design. however, when looked at en masse they reveal commendable ingenuity within the face of low resolution. Peering at jaggy category on tiny black and white monitors may have turn into an more and more commonplace recreation, however this doesn’t suggest that the lengthy-term intention of constructing the reveal as comfortable to examine because the printed page has been abandoned. the most big development during this enviornment is ClearType, a technology this is being developed via Microsoft. Combining insights into the character of reveal display with an understanding of visible perception, the technologists and designers at the back of ClearType hope to exploit the homes of average screen technology to create a extra fluent memorizing adventure.(4)

At present ClearType is exclusively accessible as part of Microsoft Reader and a only a small alternative of existing typefaces were tailored to the know-how (including Berling and Frutiger), but many, including the technological commentator Nico Macdonald (5), trust that this class know-how is determined to turn into the onscreen common.

far-off from the predominant software agencies and the giant-scale type distributors, the independent digital foundries (the brand new kids on the block in the early Nineteen Nineties) continue to proliferate. The typography part of the Microsoft web site includes a list of greater than 600 small-scale type foundries.(6) To an extent, this part of the type trade has flourished against the percentages. After the initial joy of gaining access to the equipment to make and distribute class, the temper of many designers took a nosedive when they realised how complicated it might be to earn adequate profits from their category design labours. The primary threats to the independents were (and still are) application pirates and competition from greater companies who promote class in inexpensive applications or even bundle it free with different application. Small class foundries have adopted various different innovations in their efforts to conquer these cases. Some, such as the Dutch foundry Enschedé (7), have chosen to purpose for the desirable conclusion of the market by means of charging high fees for their fonts and offering best and ‘exclusivity’ (their inverted commas) in return. Others, reminiscent of Rian Hughes’s device (8), thrive on the volume and immediacy of their output.

yet another route taken by way of a couple of independent foundries has been that of custom class. Making faces for publications or enterprises has become the staple for agencies reminiscent of Dalton Maag (9) in London (consumers include BT, Hewlett Packard and Lego) and the Hoefler classification Foundry (10) in manhattan (purchasers consist of Harper’s Bazaar, Martha Stewart residing, Tiffany & Co. and the Guggenheim Museum). a distinct typeface has become essential accessory amongst modern brands. it's partly as a result of the growth of client-initiated design that the move of exact typefaces brought about via the technological alterations of the late Eighties has continued unabated into the brand new century. ‘What’s a company with out a typeface?’ cries the cowl of Dalton Maag’s brochure.

Yet the frenzy around class that turned into so an awful lot a part of the early Nineties photograph design scene is now a bit dulled. Explanations for the damping down of typographic excitement may include the threats of software piracy and reduce-cost competitors outlined above, or market saturation, and even financial cycles, however greater likely than any of these elements is the reassertion of a couple of simple truths: type is complicated and time-drinking to make, and requires an adherence to ideas that put a damper on innovative ambition. What we're experiencing right now can be described as a 2nd digital wave.

To a great extent, most of the directions being explored in class design now seem like edited down, hemmed in types of design initiatives that arose in the early years of PostScript. for example, the digital category journal Fuse, launched in 1991, has just launched its eighteenth problem, the primary for a couple of years. Taking the theme ‘secrets and techniques’, Fuse 18’s editorial describes an international wherein information has obscured which means, and its typefaces reflect that theme to a enhanced or lesser extent. The strongest matches between theme and font are Matthew Carter’s contribution DeFace, which explores the communicative and destructive houses of graffiti, and Jake Tilson’s httpwc men handiest which turns the keyboard into a method of showing codes. Fuse produces typefaces that best qualify for that description in the loosest viable of senses and continues alongside an already dependent path, marshalling those designs within the carrier of its apocalyptic message.

at the other end of the type design spectrum, the exploration of numerous chapters in typographic history continues apace. In selected the merging of two somewhat disparate typographic styles into a single normal-searching, yet assorted face – a big theme in class design due to the fact the introduction of PostScript – is still a favored tack. This approach advised each of Adobe’s predominant new OpenType typefaces, Twombly’s Chaparral and Slimbach’s Warnock. also dealing in typographic heritage is Jeremy Tankard, who has delved into medieval manuscripts (Alchemy), the Grotesque and Egyptian lettering styles linked to the industrial revolution (The Shire kinds) and is at the moment searching on the typography of the 1901 Doves Bible with the purpose of growing a brand new typeface for publishing use. Tankard’s most seen face is the sans serif Bliss (British Midland Airways, Foxton’s property agent). The Bliss typeface is the result of the evaluation of five sans serif faces: Gill Sans; Syntax; Frutiger; Edward Johnston’s Underground typeface and Kinneir and Calvert’s Transport typeface (see Eye no. 34 vol. 9). The outcomes is a design that answered the current quest for ‘a new simplicity’. it is a face that seems simple since it is imbued with so a whole lot that they already understand.

In parallel with legit typographic background, an additional area that appears to be proving without end fruitful to contemporary category designers is typographic frequent subculture. here is a huge box that levels from the comedian publication via to the standard and useful – as an example the motor vehicle quantity plate, source of Conor Mangat’s Platelet (11) – and into the awesome and the camp – a route comprehensively explored with the aid of the united states outfit condo Industries. (12) The temper in the widely wide-spread tradition camp is upbeat. house Industries employ an indeterminate Sixties and Seventies nostalgia, a longing for a time of burbling TVs, snackfoods and reclining leather chairs, an period when industrial tradition become titillating and blameless, in place of manipulative and horrifying. All this frothiness is a little foolish, nonetheless it does make a change from the decayed, abject component that characterised most of the forays into pop way of life typography of the early Nineties. while typefaces equivalent to Barry Deck’s Template Gothic (1990) or Smoke Bomb’s Backspacer (1993) had us all teetering on the brink of unstoppable cultural decline, apartment Industries’ Latin varieties speak of nothing extra disquieting than ‘bongo madness’.

The split between typographic history and normal way of life is far from unimpeachable: there’s an apparent distaste on the part of many typographic commentators for all of postwar customer tradition. As fresh previous becomes extra historicised, the standard / historic gap may additionally gradually erode. Lucas De Groot’s Pistol fonts are examples of designs that may qualify for inclusion within the typographic heritage section. Drawn from Jamie Reid’s ransom-notice lettering for the intercourse Pistols, and referring strongly to the design language of the punk fanzine, they appear sufficiently allied with grassroots, political radicalism to be allowed some type of worthwhile typographic that means. (13)

The concept that letterforms might communicate independently to the texts they spell out, though it dates from the earliest manuscripts, is heavily associated with the early years of PostScript, the result of the twist of fate between the emergence of the utility and the adoption of postmodern idea in US art colleges. And while here is not big typographic information, it has turn into a greatly authorized certainty. residence Industries exploited this fact as part of the promotion of their exact sans serif face Chalet by using inventing a fashion designer, René Albert Chalet, and a story that touched some of classification background’s accepted bases, Modernism, Switzerland and commemorated French class foundries. In a connected, but extra earnest vein, in March 2001 the Bilbao cultural agency Consonni, in collaboration with artist Hinrich Sachs, provided on the market at auction the foreign copyright and utility models of fourteen traditional Basque typefaces commonplace because the Euskara varieties. As a component of Basque folks way of life, these letterforms lift a political cost, notably within the light of their censorship all over the Franco duration. The Consonni public sale traced questions about that means and possession that can be central to the typographic neighborhood on a broader political map. (14)

If there's a style of letterform that is certainly associated with the end of the 20 th century and the starting of the twenty-first then it's the gauche, techie appear that has come into sight in modern reveal type. The awkward, geometric faces which are a part of this appear are often the effect of a methods method, a technique whereby the dressmaker establishes the suggestions at the outset after which allows form to be decided via those guidelines. as an example, lots of the typefaces disbursed through Christian küsters’s Acme foundry are designed in keeping with a set of principles that every one however dispose of formal option. (15) in line with küsters, the element is not how these typefaces seem to be, but the ‘concept‘ that lies at the back of. other designers working in this method include Julian Morey of club Twenty-one, who takes idea from the crudest of vernacular varieties, in as soon as instance the lettering on stationery birth notes, and works these ideas up into full alphabets. The systems method to type design implies scant attention to how letterforms may operate in a typographic context and as such has little to do with average typographic cost, however they have created a present typographic mood. in all probability it is a perverse response to the apparently limitless formal alternative that turned into offered by PostScript know-how. a further strategy is to take the know-how aside and craft new software so that it will make issues enjoyable as soon as once again. here's the lengthy-time period strategy of the Dutch designer duo Erik van Blokland and simply van Rossum and their invention appears unstoppable. essentially the most exact recipients of the Charles Nypels Prize for typography (see Eye no. 39 vol. 10), Van Blokland and Van Rossum had been the originals during this field (see Eye no. 7 vol. 2) and with contemporary initiatives reminiscent of Federal, a font that takes on more aspect at better sizes, they continue to be at its forefront. (sixteen) probably the most tremendous construction in modern type can be the emergence of the aforementioned Unicode, (17) a equipment of encoding so as to embody a huge a part of the area’s written languages and promote the explanation for global typography.

however to come back to the extra local view, for a lot of of the category designers who create the faces that they see round us these tendencies are of restricted relevance. Jeremy Tankard has written a short paper for new type clients on the trials and tribulations of the expertise during which he describes the incompatibilities and system defects that are the constant risks of modern class designers and typographers. so far as Tankard is involved, OpenType simply is not going on yet, he doesn’t have the time and his purchasers don’t have the purposes. might be, as soon as this hole closes, they can witness a surge of innovation comparable to that of a decade in the past.

thanks to Phil Baines and Nico Macdonald

First posted in Eye no. 40 vol. 10, 2001

Eye is the area’s most desirable and collectable photo design journal, posted quarterly for knowledgeable designers, students and anyone drawn to important, suggested writing about picture design and visual way of life. it's available from all first rate design bookshops and online at the Eye shop, the place that you would be able to purchase subscriptions and single issues.


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