{"product_id":"design-for-hackers-isbn-9781119998952","title":"Design for Hackers","description":"\u003cb\u003eDiscover the techniques behind beautiful design by deconstructing designs to understand them\u003c\/b\u003e \u003cp\u003eThe term 'hacker' has been redefined to consist of anyone who has an insatiable curiosity as to how things work—and how they can try to make them better. This book is aimed at hackers of all skill levels and explains the classical principles and techniques behind beautiful designs by deconstructing those designs in order to understand what makes them so remarkable. Author and designer David Kadavy provides you with the framework for understanding good design and places a special emphasis on interactive mediums. You'll explore color theory, the role of proportion and geometry in design, and the relationship between medium and form. Packed with unique reverse engineering design examples, this book inspires and encourages you to discover and create new beauty in a variety of formats.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eBreaks down and studies the classical principles and techniques behind the creation of beautiful design\u003c\/li\u003e \u003cli\u003eIllustrates cultural and contextual considerations in communicating to a specific audience\u003c\/li\u003e \u003cli\u003eDiscusses why design is important, the purpose of design, the various constraints of design, and how today's fonts are designed with the screen in mind\u003c\/li\u003e \u003cli\u003eDissects the elements of color, size, scale, proportion, medium, and form\u003c\/li\u003e \u003cli\u003eFeatures a unique range of examples, including the graffiti in the ancient city of Pompeii, the lack of the color black in Monet's art, the style and sleekness of the iPhone, and more\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eBy the end of this book, you'll be able to apply the featured design principles to your own web designs, mobile apps, or other digital work.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eIntroduction 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDesign as Literacy 2\u003c\/p\u003e \u003cp\u003eThe Hacker Attitude 3\u003c\/p\u003e \u003cp\u003eThe Gap in Design Knowledge 5\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Understanding Design\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1 Why Design Matters 9\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhat Design Really Is 11\u003c\/p\u003e \u003cp\u003eWhat Design Is Not 13\u003c\/p\u003e \u003cp\u003eThe Layers of Design 15\u003c\/p\u003e \u003cp\u003ePurpose 17\u003c\/p\u003e \u003cp\u003eMedium and technology 17\u003c\/p\u003e \u003cp\u003eAesthetic decisions 18\u003c\/p\u003e \u003cp\u003eConclusion 18\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2 The Purpose of Design 19\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eVisual Design and Its Relation to User Experience Design 21\u003c\/p\u003e \u003cp\u003eThe basics of user experience design 22\u003c\/p\u003e \u003cp\u003eThe visual design of one product versus another 24\u003c\/p\u003e \u003cp\u003eSometimes a Visual Design Is Just Good Enough 25\u003c\/p\u003e \u003cp\u003eSometimes Visual Design Is Your Advantage 26\u003c\/p\u003e \u003cp\u003eReverse-Engineering the Twitter User Experience 28\u003c\/p\u003e \u003cp\u003eUser personas 29\u003c\/p\u003e \u003cp\u003eUse cases 30\u003c\/p\u003e \u003cp\u003eWireframes 32\u003c\/p\u003e \u003cp\u003eKnowledge Applied 33\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: Medium and Form\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3 Medium and Form in Typography 37\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Tragedy of Misuse: Why You Hate Comic Sans 38\u003c\/p\u003e \u003cp\u003eThe Shackles of the Typographer: The Unalterable Word 45\u003c\/p\u003e \u003cp\u003eThe Formation of Our Alphabet 47\u003c\/p\u003e \u003cp\u003eThe Birth of Our Letters 50\u003c\/p\u003e \u003cp\u003eThe Twitter of the Roman Empire 51\u003c\/p\u003e \u003cp\u003eThe height of Roman typography 52\u003c\/p\u003e \u003cp\u003eThe Type That Has Lived On 62\u003c\/p\u003e \u003cp\u003eThe invention and spread of printing 63\u003c\/p\u003e \u003cp\u003ePunchcutting: The cradle of the unalterable word 64\u003c\/p\u003e \u003cp\u003eVenice and the Renaissance 65\u003c\/p\u003e \u003cp\u003eFrance and Garamond 66\u003c\/p\u003e \u003cp\u003eGaramond Today: Why You Don’t Use Garamond on the Web 66\u003c\/p\u003e \u003cp\u003eThe birth of the “web font” 67\u003c\/p\u003e \u003cp\u003eA great leap 68\u003c\/p\u003e \u003cp\u003eBridging the gap 69\u003c\/p\u003e \u003cp\u003eLimitations can be embraced – even parodied 72\u003c\/p\u003e \u003cp\u003eKnowledge Applied 73\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4 Technology and Culture 75\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHow Trends Are Created 76\u003c\/p\u003e \u003cp\u003eThe birth of Impressionism 76\u003c\/p\u003e \u003cp\u003eImpressionism and the middle class 78\u003c\/p\u003e \u003cp\u003eImpressionism and photography 79\u003c\/p\u003e \u003cp\u003eImpressionism and modern art 81\u003c\/p\u003e \u003cp\u003eWeb 2 0 graphics 82\u003c\/p\u003e \u003cp\u003eHow Apple started the Web 2 0 style 83\u003c\/p\u003e \u003cp\u003eHow Aqua influenced the web 85\u003c\/p\u003e \u003cp\u003eHow Aqua met Web 2 0 86\u003c\/p\u003e \u003cp\u003eForm shapes technology, this time 90\u003c\/p\u003e \u003cp\u003eSEO Is Design 90\u003c\/p\u003e \u003cp\u003eUnderstanding why SEO is important 93\u003c\/p\u003e \u003cp\u003eChoosing the right keywords 94\u003c\/p\u003e \u003cp\u003eConsidering content and coding 96\u003c\/p\u003e \u003cp\u003eURL 97\u003c\/p\u003e \u003cp\u003eTitle tag 97\u003c\/p\u003e \u003cp\u003eMeta tags 98\u003c\/p\u003e \u003cp\u003eHeaders 98\u003c\/p\u003e \u003cp\u003eContent: em, strong, img 98\u003c\/p\u003e \u003cp\u003eAuthority of linking pages 99\u003c\/p\u003e \u003cp\u003eContent of linking pages and of anchor text of links 100\u003c\/p\u003e \u003cp\u003eEverything in moderation 100\u003c\/p\u003e \u003cp\u003eGetting the content, getting the links 101\u003c\/p\u003e \u003cp\u003eKnowledge Applied 102\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Composition\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5 Fool’s Golden Ratio: Understanding Proportions 105\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhat Is Proportion? 107\u003c\/p\u003e \u003cp\u003eProportion and Design 109\u003c\/p\u003e \u003cp\u003eThe Broken Promise of the Golden Ratio 110\u003c\/p\u003e \u003cp\u003eThe golden ratio and the Fibonacci sequence: Similar, but different 112\u003c\/p\u003e \u003cp\u003eThe golden ratio in the human form 113\u003c\/p\u003e \u003cp\u003eMisconceptions about the golden ratio 115\u003c\/p\u003e \u003cp\u003eThe golden ratio in ancient Greece 115\u003c\/p\u003e \u003cp\u003eThe golden ratio in fine art 117\u003c\/p\u003e \u003cp\u003eThe golden ratio in nature 118\u003c\/p\u003e \u003cp\u003eThe golden ratio in psychology 118\u003c\/p\u003e \u003cp\u003eOther Pleasing Proportions 119\u003c\/p\u003e \u003cp\u003eThe root 2 rectangle 119\u003c\/p\u003e \u003cp\u003eThe 2:3 rectangle 120\u003c\/p\u003e \u003cp\u003eThe 3:4 rectangle 121\u003c\/p\u003e \u003cp\u003eProportions in Our World 121\u003c\/p\u003e \u003cp\u003eMusic and dance 122\u003c\/p\u003e \u003cp\u003eNature 123\u003c\/p\u003e \u003cp\u003eComputers and mobile devices 125\u003c\/p\u003e \u003cp\u003eProportions at Work 126\u003c\/p\u003e \u003cp\u003eKnowledge Applied 132\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6 Holding the Eye: Composition and Design Principles 133\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCompositional Relationships 134\u003c\/p\u003e \u003cp\u003eReading direction 135\u003c\/p\u003e \u003cp\u003eGuiding the eye with composition 136\u003c\/p\u003e \u003cp\u003eRenaissance sculpture 137\u003c\/p\u003e \u003cp\u003eImpressionist paintings 139\u003c\/p\u003e \u003cp\u003eWeb design 140\u003c\/p\u003e \u003cp\u003eForeground\/background relationships 141\u003c\/p\u003e \u003cp\u003eIn Seurat’s painting 142\u003c\/p\u003e \u003cp\u003eIn interface and web design 143\u003c\/p\u003e \u003cp\u003eDesign Principles 144\u003c\/p\u003e \u003cp\u003eDominance 144\u003c\/p\u003e \u003cp\u003eSimilarity 146\u003c\/p\u003e \u003cp\u003eRhythm 148\u003c\/p\u003e \u003cp\u003eTexture 150\u003c\/p\u003e \u003cp\u003eDirection 151\u003c\/p\u003e \u003cp\u003eContrast 156\u003c\/p\u003e \u003cp\u003eWhy the MailChimp Logo Is Beautiful: Use of Composition and Design Principles 157\u003c\/p\u003e \u003cp\u003eForeground\/background relationships 159\u003c\/p\u003e \u003cp\u003eDominance 160\u003c\/p\u003e \u003cp\u003eSimilarity 160\u003c\/p\u003e \u003cp\u003eRhythm 162\u003c\/p\u003e \u003cp\u003eTexture 163\u003c\/p\u003e \u003cp\u003eDirection 163\u003c\/p\u003e \u003cp\u003eContrast 163\u003c\/p\u003e \u003cp\u003eKnowledge Applied 165\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7 Enlivening Information: Establishing a Visual Hierarchy 167\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhat I Mean by “Hierarchy” 168\u003c\/p\u003e \u003cp\u003eHierarchy is expressive 170\u003c\/p\u003e \u003cp\u003eMany visual factors can affect hierarchy 170\u003c\/p\u003e \u003cp\u003eHierarchical Factors in Isolation 171\u003c\/p\u003e \u003cp\u003eWhite space 172\u003c\/p\u003e \u003cp\u003eUsing a grid to manage white space 172\u003c\/p\u003e \u003cp\u003eEstablishing a hierarchy with white space 173\u003c\/p\u003e \u003cp\u003eKnowing how much white space to use 175\u003c\/p\u003e \u003cp\u003eConsidering white space and italic font style 175\u003c\/p\u003e \u003cp\u003eUsing a four-column grid 176\u003c\/p\u003e \u003cp\u003eType weight and size 177\u003c\/p\u003e \u003cp\u003eType weight 177\u003c\/p\u003e \u003cp\u003eType size 179\u003c\/p\u003e \u003cp\u003eCombining weight and size 181\u003c\/p\u003e \u003cp\u003eColor 181\u003c\/p\u003e \u003cp\u003eVisual ornamentation 182\u003c\/p\u003e \u003cp\u003eHierarchy at Work 187\u003c\/p\u003e \u003cp\u003eKnowledge Applied 190\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: Color\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8 Color Science 195\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhat Is Color? 197\u003c\/p\u003e \u003cp\u003eThe Tricks Your Eyes Play 198\u003c\/p\u003e \u003cp\u003eMetamerism 199\u003c\/p\u003e \u003cp\u003eColor constancy 199\u003c\/p\u003e \u003cp\u003eAfterimages 200\u003c\/p\u003e \u003cp\u003eHow the Visual System Works 201\u003c\/p\u003e \u003cp\u003eCones 201\u003c\/p\u003e \u003cp\u003eTrichromatic theory and color opponent theory 202\u003c\/p\u003e \u003cp\u003eMixing of dominant wavelengths and the color wheel 204\u003c\/p\u003e \u003cp\u003eColorblindness 205\u003c\/p\u003e \u003cp\u003eDefining Color 207\u003c\/p\u003e \u003cp\u003eMunsell 208\u003c\/p\u003e \u003cp\u003eHue, saturation, and brightness 209\u003c\/p\u003e \u003cp\u003eLab color model 210\u003c\/p\u003e \u003cp\u003eColor Models and Data-Driven Graphics 211\u003c\/p\u003e \u003cp\u003eColor and qualitative data 211\u003c\/p\u003e \u003cp\u003eColor and quantitative data 212\u003c\/p\u003e \u003cp\u003eSequential versus diverging color palettes 216\u003c\/p\u003e \u003cp\u003eThinking in Hexadecimal Color: Understanding the Colors of the Web 217\u003c\/p\u003e \u003cp\u003eUnderstanding RGB 218\u003c\/p\u003e \u003cp\u003eHow hexadecimal represents RGB 220\u003c\/p\u003e \u003cp\u003eMentally navigating the hexadecimal “cube” 221\u003c\/p\u003e \u003cp\u003eThe future: HSL 224\u003c\/p\u003e \u003cp\u003eColor Models in Action: Why Your Business Card Doesn’t (and Never Will) Match Your Website 225\u003c\/p\u003e \u003cp\u003eRGB displays versus CMYK color printing 226\u003c\/p\u003e \u003cp\u003eColor gamuts 227\u003c\/p\u003e \u003cp\u003eWorking across media and managing color 229\u003c\/p\u003e \u003cp\u003eAdobe RGB versus sRGB 230\u003c\/p\u003e \u003cp\u003e“Proofing” and previewing color shifts 231\u003c\/p\u003e \u003cp\u003ePrinting with spot colors 232\u003c\/p\u003e \u003cp\u003eKnowledge Applied 233\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9 Color Theory 235\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eColor Response throughout Human History 237\u003c\/p\u003e \u003cp\u003eColor Response and Human Biology 237\u003c\/p\u003e \u003cp\u003eThe Power of Red: Why You Don’t Stand a Chance in the “Target Challenge” 238\u003c\/p\u003e \u003cp\u003eThe effect of red on your brain 239\u003c\/p\u003e \u003cp\u003eThe prefrontal cortex and rational thought 239\u003c\/p\u003e \u003cp\u003eThe attack on your prefrontal cortex 240\u003c\/p\u003e \u003cp\u003eThe prefrontal cortex and decision-making 241\u003c\/p\u003e \u003cp\u003eColor and context 243\u003c\/p\u003e \u003cp\u003eWhat this means to you 244\u003c\/p\u003e \u003cp\u003eResearch on Other Colors 245\u003c\/p\u003e \u003cp\u003eColor and Culture 246\u003c\/p\u003e \u003cp\u003eColor Schemes and the Color Wheel 247\u003c\/p\u003e \u003cp\u003eColor Choices and Web Conventions 249\u003c\/p\u003e \u003cp\u003eBackgrounds 249\u003c\/p\u003e \u003cp\u003eWhite 249\u003c\/p\u003e \u003cp\u003eOff-white 250\u003c\/p\u003e \u003cp\u003eDark 250\u003c\/p\u003e \u003cp\u003eBright 250\u003c\/p\u003e \u003cp\u003eGraphics and text 251\u003c\/p\u003e \u003cp\u003eGreen 252\u003c\/p\u003e \u003cp\u003eYellow 252\u003c\/p\u003e \u003cp\u003eRed 253\u003c\/p\u003e \u003cp\u003eBlue 254\u003c\/p\u003e \u003cp\u003eAccent colors 254\u003c\/p\u003e \u003cp\u003eThe Interaction of Colors: Why Monet Never Used Black 255\u003c\/p\u003e \u003cp\u003eThe Impressionists: Masters of color 256\u003c\/p\u003e \u003cp\u003eColor theory: What the Impressionists discovered 256\u003c\/p\u003e \u003cp\u003eWarm colors pop, cool colors recede 257\u003c\/p\u003e \u003cp\u003eTints pop, shades recede 257\u003c\/p\u003e \u003cp\u003eThe importance of context 258\u003c\/p\u003e \u003cp\u003eTemperature versus tint 258\u003c\/p\u003e \u003cp\u003eHow Monet used color 260\u003c\/p\u003e \u003cp\u003eUsing color like Monet 262\u003c\/p\u003e \u003cp\u003eEnriching your typography 262\u003c\/p\u003e \u003cp\u003eAdding life to your graphics 263\u003c\/p\u003e \u003cp\u003eColor Schemes 264\u003c\/p\u003e \u003cp\u003eMonochromatic 265\u003c\/p\u003e \u003cp\u003eAnalogous 267\u003c\/p\u003e \u003cp\u003eComplementary 269\u003c\/p\u003e \u003cp\u003eSplit-complementary 271\u003c\/p\u003e \u003cp\u003eTriadic 274\u003c\/p\u003e \u003cp\u003eTetradic 276\u003c\/p\u003e \u003cp\u003eVariations 276\u003c\/p\u003e \u003cp\u003eCreating a Mood with Color 280\u003c\/p\u003e \u003cp\u003eMysterious or exclusive 280\u003c\/p\u003e \u003cp\u003eActive 280\u003c\/p\u003e \u003cp\u003eMuted 283\u003c\/p\u003e \u003cp\u003eNatural 284\u003c\/p\u003e \u003cp\u003eTools for Creating Color Palettes and Schemes 285\u003c\/p\u003e \u003cp\u003eKnowledge Applied 287\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: Appendixes\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAppendix A Choosing and Pairing Fonts 291\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eClassifying Typefaces 293\u003c\/p\u003e \u003cp\u003eSerif typefaces 294\u003c\/p\u003e \u003cp\u003eOld style 294\u003c\/p\u003e \u003cp\u003eTransitional 294\u003c\/p\u003e \u003cp\u003eModern 295\u003c\/p\u003e \u003cp\u003eSlab-serif 295\u003c\/p\u003e \u003cp\u003eSans-serif typefaces 296\u003c\/p\u003e \u003cp\u003eDisplay typefaces 296\u003c\/p\u003e \u003cp\u003eLooking At Letter Structure: The Form of the Skeleton 297\u003c\/p\u003e \u003cp\u003eHumanist typefaces 297\u003c\/p\u003e \u003cp\u003eGeometric typefaces 298\u003c\/p\u003e \u003cp\u003eRealist typefaces 298\u003c\/p\u003e \u003cp\u003ePairing Fonts 298\u003c\/p\u003e \u003cp\u003eThe rule 299\u003c\/p\u003e \u003cp\u003eThe exception to the rule 299\u003c\/p\u003e \u003cp\u003eWhy certain fonts pair well 301\u003c\/p\u003e \u003cp\u003eTexture 301\u003c\/p\u003e \u003cp\u003eCharacter width 304\u003c\/p\u003e \u003cp\u003eThe ultimate cheat: Staying faithful to a typographer 306\u003c\/p\u003e \u003cp\u003eAll the Fonts You’ll Ever Need 307\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAppendix B Typographic Etiquette 311\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDistorting Type: What Not to Do 313\u003c\/p\u003e \u003cp\u003eFake bold 313\u003c\/p\u003e \u003cp\u003eFake italic 314\u003c\/p\u003e \u003cp\u003eFake small caps 314\u003c\/p\u003e \u003cp\u003eStretching type 317\u003c\/p\u003e \u003cp\u003eOutlining type 317\u003c\/p\u003e \u003cp\u003eType and images or textures 318\u003c\/p\u003e \u003cp\u003eSetting Body Copy 319\u003c\/p\u003e \u003cp\u003eIndicating a change in paragraphs 319\u003c\/p\u003e \u003cp\u003eAvoiding justified type 321\u003c\/p\u003e \u003cp\u003eAvoiding widows and orphans 322\u003c\/p\u003e \u003cp\u003eTending to Typographic Details 323\u003c\/p\u003e \u003cp\u003eNot all quotes are created equal 323\u003c\/p\u003e \u003cp\u003eUsing dashes dashingly 324\u003c\/p\u003e \u003cp\u003eOne space after a period, not two 324\u003c\/p\u003e \u003cp\u003eLigatures bring letters together 325\u003c\/p\u003e \u003cp\u003eIndex 329\u003c\/p\u003e \u003cb\u003eDavid Kadavy\u003c\/b\u003e is a user interface designer whose clients include Silicon Valley startups such as oDesk, UserVoice, and PBworks. He led the design departments at two Silicon Valley startups and an architecture firm, taught a college course in typography, and studied ancient typography in Rome. David blogs about design at \u003cb\u003ekadavy.net\u003c\/b\u003e, and his Twitter handle is \u003cb\u003e@kadavy\u003c\/b\u003e.  \"If you want to learn to create great design yourself...there simply is no way to do so with lists of rules. Instead, I want to provide you with a new set of eyes through which you can see the world anew.\"---\u003cb\u003eDAVID KADAVY\u003c\/b\u003e  \u003cp\u003e\u003cb\u003eWHY DID MONET NEVER USE THE COLOR BLACK IN HIS PAINTINGS?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWHY IS THE GOLDEN RATIO NOT ALL IT'S CRACKED UP TO BE?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWHY IS COMIC SANS SUCH A HATED FONT?\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIt's amazing what you can learn about great web design by asking questions like these. Award-winning designer David Kadavy uses this \"reverse-engineering\" process in \u003ci\u003eDesign for Hackers\u003c\/i\u003e to deconstruct classical design principles and techniques from web designers. Using an eclectic array of reverse-engineered examples, ranging from Twitter's latest redesign, to Target's red shopping carts, and ancient graffiti from the walls of Pompeii, he explains:\u003c\/p\u003e \u003cul\u003e \u003cli\u003e\n\u003cb\u003eCOLOR THEORY:\u003c\/b\u003e How can you enliven your designs by understanding how colors interact?\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003ePROPORTION AND GEOMETRY:\u003c\/b\u003e How can you establish a grid that is suitable for the device on which your design will be displayed?\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eSIZE AND SCALE\u003c\/b\u003e: How can you create clean design just by choosing the right type sizes?\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eWHITE SPACE:\u003c\/b\u003e How can you use it elegantly to communicate clearly?\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eCOMPOSITION AND DESIGN PRINCIPLES:\u003c\/b\u003e How can you use them to make your designs more compelling?\u003c\/li\u003e \u003cli\u003e\n\u003cb\u003eTYPOGRAPHIC ETIQUETTE:\u003c\/b\u003e What tiny typographic details can make a huge difference in what you're communicating?\u003c\/li\u003e \u003c\/ul\u003e","brand":"Wiley","offers":[{"title":"Default Title","offer_id":47989044871397,"sku":"NP9781119998952","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119998952.jpg?v=1761782565","url":"https:\/\/k12savings.com\/products\/design-for-hackers-isbn-9781119998952","provider":"K12savings","version":"1.0","type":"link"}