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text:
Teach Yourself Web Publishing with HTML 3.2 in 14 Days
Chapter 7
Using Images, Color, and Backgrounds
- Images on the Web
- Inline Images in HTML: The  Tag
- Images and Text
- Images and Links
- Using External Images
- Providing Alternatives to Images
- Using Color
- Image Backgrounds
- Hints for Better Use of Images
- Summary
If you've been struggling to keep up with all the HTML tags I've
been flinging at you over the last couple of days, you can breathe
easier: things will be easier today. In fact, today you're going
to learn very few new HTML tags. The focus for today is on adding
images and color to your Web pages. In this chapter you'll learn
about the HTML codes for adding images, color, and backgrounds,
in particular:
- The kinds of images you can use in Web pages
- How to include images on your Web page, either alone or alongside text
- How to use images as clickable links
- Using external images as a substitute for or in addition to inline images
- Providing alternatives for browsers that cannot view images
- Image dimensions and scaling, and providing image previews
- Changing the font and background colors in your Web page
- Using images for tiled page backgrounds
- How (and when) to use images in your Web Pages
After this chapter you'll know all there is to adding images to your Web pages. Chapter 8, "Creating Images for the Web," will teach you about the tricks you can do with the images themselves to create different effects on your Web pages.
Images on the Web
Images for Web pages fall into two general classes: inline images
and external images. Inline images appear directly on a Web page
among the text and links and are loaded automatically when you
load the page itself-assuming, of course, that you have a graphical
browser and that you have automatic image-loading turned on. External
images are images that are not directly displayed when you load
a page. They are downloaded only at the request of your reader,
usually on the other side of a link. External images don't need
a graphical browser to be viewed-you can download an image file
just fine using a text-only browser and then use an image editor
or viewer to see that image later on. You'll learn about how to
use both inline and external images in this chapter.
|New Term
Inline images appear on a Web page along with text and links, and are automatically loaded when the page itself is retrieved.
|New Term
External images are stored separate from the Web page and are loaded only on demand, for example, as the result of a link.
Regardless of whether you're using inline or external images, those images must be in a specific format. For inline images, that image has to be in one of two formats: GIF or JPEG. GIF is actually the more popular standard, and more browsers can view inline GIF files than JPEG files. Support for JPEG is becoming more widespread but is still not as popular as GIF, and so sticking with GIF is the safest method of making sure your images can be viewed by the widest possible audience. You'll learn more about the difference between GIF and JPEG and how to create images in these formats in Chapter 8. You'll learn more about external images and the formats you can use for them later in this chapter.
For this chapter, let's assume you already have an image you want to put on your Web page. How do you get it into GIF or JPEG format so that your page can view it? Most image-editing programs such as Adobe Photoshop, Paint Shop Pro, Corel Draw, or XV provide ways to convert between image formats. You may have to look under an option for Save As or Export in order to find it. There are also freeware and shareware programs out there for most platforms that do nothing but convert between image formats.
To save files in GIF format, you're looking for an option called CompuServe GIF, GIf87, GIf89, or just plain GIF. Any of these will work. If you're saving your files as JPEG, usually the option will be simply JPEG.
Remember how your HTML files had to have a .html or .htm extension for them to work properly? Image files have extensions, too. For GIF files, the extension is .gif. For JPEG files, the extension is either .jpg or .jpeg; either will work fine.
Some image editors will try to save files with extensions in all caps (.gif, .JPEG). Although these are the correct extensions, image names, like HTML file names, are case sensitive, and so GIF is not the same extension as gif. The case of the extension isn't important when you're testing on your local system, but it will be when you move your files to the server, so use lowercase if you possibly can.
Inline Images in HTML: The  Tag
After you have an image in GIF or JPEG format ready to go, you can include it in your Web page. Inline images are indicated in HTML using the  tag. The  tag, like the
 and
 tags, has no closing tag. It does, however, have many different attributes that allow different ways of presenting and handling inline images. Many of these attributes are newer extensions to HTML and may not be available in some browsers. I'll make note of those extensions as you learn about them.
The most important attribute to the
tag is SRC. The SRC
attribute indicates the filename or URL of the image you want
to include, in quotes. The pathname to the file uses the same
pathname rules as the HREF
attribute in links. So, for a GIF file named image.gif
in the
same directory as this file, you can use the following tag:

For an image file one directory up from the current directory, use

And so on, using the same rules as for page names in the HREF part of the  tag.
Exercise 7.1: Try it!
Let's try a simple example. Here's the Web page for a local haunted house that happens every year at Halloween. Using all the excellent advice I've given you in the last six chapters, you should be able to create a page like this one pretty easily. Here's the HTML code for this HTML file, and Figure 7.1 shows how it looks so far.
Figure 7.1 : The Halloween House home page.
<TITLE>Welcome to the Halloween House of Terror</TITLE>

Welcome to The Halloween House of Terror!!

Voted the most frightening haunted house three years in a row, the
Halloween House of Terror provides the ultimate in
Halloween thrills. Over 20 rooms of thrills and excitement to
make your blood run cold and your hair stand on end!

The Halloween House of Terror is open from October 20 to November
1st, with a gala celebration on Halloween night. Our hours are:

Mon-Fri 5PM-midnight

Sat & Sun 5PM-3AM

Halloween Night (31-oct): 3PM-???

The Halloween House of Terror is located at:

The Old Waterfall Shopping Center

1020 Mirabella Ave

Springfield, CA 94532

So far, so good. Now, let's add an image to the page. I happen to have an image of a spider web kicking around in a clip art library (Figure 7.2) that would look excellent at the top of that Web page. (Keep in mind that this image, like all the images in this book, are available on the CD-ROM.)
Figure 7.2 : The spider web image.
The image is called web.gif, is in GIF format, and is in the same directory as the halloween.html page, so it's ready to go into the Web page. Let's say we want to add it to this page on its own line so that the heading appears just below it. We'll add an  tag to the file inside its own paragraph, just before the heading. (Images, like links, don't define their own text elements, so the  tag has to go inside a paragraph or heading element.)

Welcome to The Halloween House of Terror!!

And now, when you reload the halloween.html page, your browser should include the spider web image in the page, as shown in Figure 7.3.
Figure 7.3 : The Halloween House home page, with spider.
If the image doesn't load (if your browser displays a funny-looking icon in its place), first make sure you've specified the name of the file properly in the HTML file. Image filenames are case-sensitive, so all the uppercase and lowercase letters have to be the same.
If that doesn't work, double-check the image file to make sure that it is indeed a GIF or JPEG image, and that it has the proper file extension.
Finally, make sure that you have image loading turned on in your browser. (The option is called Auto Load Images in both Netscape and Mosaic.)
If one spider is good, two would be really good, right? Try adding another  tag next to the first one and see what happens:

Welcome to The Halloween House of Terror!!

Figure 7.4 shows how it looks in Netscape, with both images adjacent to each other, as you would expect.
And that's all there is to it! No matter what the image or how large or small it is, that's how you include it on a Web page.
Images and Text
In the previous exercise we put an inline image on a page in its own separate paragraph, with text below the image. You can also include an image inside a line of text. (In fact, this is what the phrase "inline image" actually means-in a line of text.)
To include images inside a line of text, just add the  tag at the appropriate point, inside an element tag (
,
, <ADDRESS>, and so on):

The Halloween House of Terror!!

So, for example, Figure 7.5 shows the difference that putting the image inline with the heading makes. (I've also shortened the title itself.)
Figure 7.5 : The Halloween House page with image inside the heading.
The image doesn't have to be large, and it doesn't have to be at the beginning of the text. You can include an image anywhere in a block of text:
Love, from whom the world  begun,

Hath the secret of the sun.

Love can tell, and love alone,
Whence the million stars  were strewn

Why each atom  knows its own.

--Robert Bridges
Figure 7.6 shows how this looks.
Figure 7.6 : Images can go anywhere in text.
Text and Image Alignment
Notice that with these examples of including images in text the image was displayed so that the bottom of the image and the bottom of the text matched up. The  tag also includes an ALIGN attribute which allows you to align the image upwards or downwards with the surrounding text or other images in the line.
Standard HTML 2.0 defines three basic values for ALIGN:
|Aligns the top of the image with the topmost part of the line (which may be the top of the text or the top of another image).
|Aligns the center of the image with the middle of the line (usually the baseline of the line of text, not the actual middle of the line).
|Aligns the bottom of the image with the bottom of the line of text.
In addition to these values, there are several new values for ALIGN that provide greater control over precisely where the image will be aligned within the line. These values are Netscape extensions to HTML but are supported in many other popular browsers.
|Aligns the top of the image with the top of the tallest text in the line (whereas ALIGN=TOP aligns the image with the topmost item in the line).
|Aligns the middle of the image with the middle of the largest item in the line. (ALIGN=MIDDLE usually aligns the middle of the image with the baseline of the text, not its actual middle.)
|Aligns the bottom of the image with the baseline of the text. ALIGN=BASELINE is the same as ALIGN=BOTTOM, but ALIGN=BASELINE is a more descriptive name.
|Aligns the bottom of the image with the lowest item in the line (which may be below the baseline of the text).
Figure 7.7 shows examples of all these alignment options. In each case, the line on the left side and the text are aligned to each other, and the arrow varies.
Figure 7.7 : New alignment options.
Wrapping Text Next to Images
Including an image inside a line works fine if you have only one line of text. One aspect of inline images I have sneakily avoided mentioning up to this point is that in HTML 2.0 all this works only with a single line of text. If you have multiple lines of text and you include an image in the middle of it, all the text around the image (except for the one line) will appear above and below that image-see Figure 7.8 for an example.
Figure 7.8 : Text does not wrap around images.
What if you want to wrap multiple lines of text next to an image so you have text surrounding all sides? Using HTML 2.0, you can't. You're restricted to just a single line of text on either side of the image, which limits the kinds of designs you can do.
To get around this limitation in HTML 2.0, Netscape defined two new values for the ALIGN attribute of the  tag-LEFT and RIGHT. These new values have been incorporated into HTML 3.2 and are supported now by many browsers other than Netscape.
ALIGN=LEFT and ALIGN=RIGHT
The ALIGN=LEFT aligns an image to the left margin, and ALIGN=RIGHT aligns an image to the right margin. But using these attributes also causes any text following the image to be displayed in the space to the right or left of that image, depending on the margin alignment. Figure 7.9 shows an image with some text aligned next to it.
Figure 7.9 : Text and images aligned.
You can put any HTML text (paragraphs, lists, headings, other images) after an aligned image, and the text will be wrapped into the space between the image and the margin (or you can also have images on both margins and put the text between them). The browser fills in the space with text until the bottom of the image, and then continues filling in the text beneath the image.
Stopping Text Wrapping
What if you want to stop filling in the space and start the next line underneath the image? A normal line break won't do it-it'll just break the line to the current margin alongside the image. A new paragraph will also continue wrapping the text alongside the image. To stop wrapping text next to an image, use a line break tag (
) with the new attribute CLEAR. With the CLEAR attribute you can break the line so that the next line of text begins after the end of the image (all the way to the margin). See Figure 7.10 for an example (I've used a smaller image here than the one in the previous example so that the line break is more visible).
Figure 7.10 : Line break to a clear margin.
The CLEAR attribute can have one of three values:
|Break to an empty left margin, for left-aligned images
|Break to an empty right margin, for right-aligned images
|Break to a line clear to both margins
So, for example, this code snippet shows a picture of a tulip with some text wrapped next to it. A line break with CLEAR=LEFT breaks the text wrapping and restarts the text after the image.

Mystery Tulip Murderer Strikes

Someone, or something, is killing the tulips of New South Haverford,
Virginia. Residents of this small town are shocked and dismayed by the
senseless vandalism that has struck their tiny town.

New South Haverford is known for its extravagant displays of tulips
in the springtime, and a good portion of its tourist trade relies on the
people who come from as far as new Hampshire to see what has been estimated
as up to two hundred thousand tulips that bloom in April and may.

Text Wrapping in Older Browsers
Given that ALIGN=LEFT and ALIGN=RIGHT are newer features to HTML, it's interesting to take note about what happens if a page that includes these features is viewed in a browser that doesn't support left and right alignment.
Usually you'll just lose the formatting; the text will appear below the image rather than next to it. However, because the first line of text will still appear next to the image, the text may break in odd places. Something as simple as putting a
 after the image (which does little in Netscape or other browsers that support text wrapping, but pushes all the text after the image on other browsers) can create an effect that works well both in the browsers that support image and text wrapping and those that don't. Be sure to test your pages in multiple browsers so you know what the effect will be.
For example, the following input and output example shows the HTML code for a page for Papillon Enterprises, a fictional company that designs Web pages. Figure 7.11 shows the result in Netscape, and Figure 7.12 shows the result in browser called MacWeb (which does not have image and text wrapping capabilities).

Papillon Enterprises

Design, Writing, Illustration, and Programming for the
World Wide Web

Specializing in:

HTML and Web Page Design

Forms Design and Programming

Complete Web Server Installation
Figure 7.11: The output in Netscape.
Figure 7.12: The output in MacWeb (no image alignment).
Adjusting the Space Around Images
With the ability to wrap text around an image, you may also want to adjust the amount of space around that image. The VSPACE and HSPACE attributes (also a Netscape and HTML 3.2 feature) allow you to do this. Both take a value in pixels; VSPACE controls the space above and below the image, and HSPACE controls the space to the left and the right.
For example, the following HTML code produces the effect shown in Figure 7.13:

This is an eggplant. We intend to stay a good ways away from it,
because we really don't like eggplant very much.

Images and Links
Can an image serve as a link? Sure it can! If you include an  tag inside the opening and closing parts of a link tag (), that image serves as a clickable hot spot for the link itself:

If you include both an image and text in the anchor, the image and the text become hot spots pointing to the same page:
Up to Index
By default in HTML 2.0, images that are also hot spots for links appear with a border around them to distinguish them from ordinary nonclickable images, as Figure 7.14 shows.
Figure 7.14 : Images that are also links.
You can change the width of the border around that image using the BORDER attribute to . The BORDER attribute, a Netscape extension now part of HTML 3.2, takes a number, which is the width of the border in pixels. BORDER=0 hides the border entirely.
Be very careful when setting BORDER to 0 (zero) for images with links. The border provides a visual indication that the image is also a link. By removing that border, you make it difficult for the reader to know which are plain images and which are hot spots without them having to move the mouse around to find them. Make sure, if you must use borderless image links, that your design provides some indication that the image is selectable and isn't just a plain image. For example, you might design your images so they actually look like buttons (see Figure 7.15).
Figure 7.15 : Images that look like buttons.
Exercise 7.2: Navigation icons.
Let's create a simple example of using images as links. When you have a set of related Web pages among which the navigation takes place in a consistent way (for example, moving forward, or back, up, home, and so on), it makes sense to provide a menu of navigation options at the top or bottom of each page so that your readers know exactly how to find their way through your pages.
This example shows you how to create a set of icons that are used to navigate through a linear set of pages. You have three icons in GIF format: one for forward, one for back, and a third to enable the reader to jump to a global index of the entire page structure.
First, we'll write the HTML structure to support the icons. Here, the page itself isn't all that important, so I'll just include a shell page. Figure 7.16 shows how the page looks to begin with.
Figure 7.16 : The basic page, no icons.
<TITLE>Motorcycle Maintenance: Removing Spark Plugs</TITLE>

Removing Spark Plugs

(include some info about spark plugs here)

Now, at the bottom of the page, add your images using IMG tags (Figure 7.17 shows the result).
Figure 7.17 : The basic page with icons.

Now, add the anchors to the images to activate them. Figure 7.18 shows the result.
Figure 7.18 : The basic page with iconic links.

When you click on the icons now, the browser jumps to the page in the link just as it would have if you had used text links.
Speaking of text, are the icons usable enough as they are? How about adding some text describing exactly what is on the other side of the link? You can add the text inside or outside the anchor, depending on whether you want the text to be a hot spot for the link as well. Here, we'll include it outside the link so that only the icon serves as the hot spot. We'll also align the bottoms of the text and the icons using the ALIGN attribute of the  tag. Finally, because the extra text causes the icons to move onto two lines, we'll arrange each one on its own line instead. See Figure 7.19 for the final menu.
Figure 7.19 : The basic page with iconic links and text.

On to "Gapping the New Plugs"

Back to "When You Should Replace your Spark Plugs"

Up To Index
Using External Images
Unlike inline images, external images don't actually appear on your Web page; instead, they're stored separate from the page and linked from that page in much the same way that other HTML pages are.
The reason external images are worth mentioning in this chapter is that external images often can serve a complementary role to inline images. For example:
- Most Web browsers support inline GIF images, and many of them support inline JPEG images as well. However, most browsers support a much wider array of image formats through the use of external image files and helper applications. So, by using external images, you can use many other image formats besides GIF and JPEG, for example, BMP (Windows bitmaps) or PICT (Macintosh bitmaps).
- Text-only browsers can't display images inline with Web pages, but you can download external images with a text-only browser and view them with an image-editing or viewing program.
- You can combine a small inline image on your Web page that loads quickly with a larger, more detailed external image so that if readers want to see more, they can choose to load the image themselves.
To use external images, you create the image as you would an inline
image and then save it with an appropriate filename. As with other
files on the Web, the file extension is important. Depending on
the image format, use one of the extensions listed in Table 7.1.
|.jpg, .jpeg
|.tiff, .tif
Once you have an external image, all you have to do is create a link to it, the same way you would a link to another HTML page, like this:

I grew some really huge tomatos in
my garden last year

For this next exercise, you'll use inline and external images together.
Exercise 7.3: Linking to external GIF and JPEG files.
A common practice in Web pages is to provide a very small GIF image (a "thumbnail") inline on the page itself. You can then link that image to its larger external counterpart. This has two major advantages over including the entire image inline:
- It keeps the size of the Web page small so that the page can be downloaded quickly.
- It gives your readers a "taste" of the image so they can choose to download the entire thing if they want to see more or get a better view.
In this simple example, you'll set up a link between a small image and an external, larger version of that same image. The large image is a photograph of some penguins in GIF format, called penguinsbig.gif (shown in Figure 7.20).
First, create a thumbnail version of the penguins photograph in your favorite image editor. The thumbnail can be a scaled version of the original file, a clip of that file (say, one penguin out of the group), or anything else you want to indicate the larger image.
Here, I've created a picture of one penguin in the group to serve as the inline image. (I've called it penguinslittle.gif.) Unlike the large version of the file, which is 100K, the small picture is only 3K. Using the  tag, I'll put that image directly on a nearly content-free Web page:

Now, using a link tag, you can link the small icon to the bigger picture by enclosing the  tag inside an  tag:

The final result of the page is shown in Figure 7.21. Now, if you click on the small penguin image, the big image will be downloaded and viewed either by the browser itself or by the helper application defined for GIF files for that browser.
Figure 7.21 : The Penguins home page with link.
An alternative to linking the small image directly to the larger image is to provide the external image in several different formats and then create plain text links to the various different external versions (you might want to do this for readers who have software for one format but not another). Next, I'll link to a JPEG version of that same penguins file.
To create the JPEG version of the penguin photograph, you need to use your image editor or converter again to convert the original photograph. Here, I've called it penguinsbig.jpg.
To provide both GIF and JPEG forms of the penguin photo we'll convert the link on the image into a simple link menu to the GIF and JPEG files, providing some information about file size (the result is shown in Figure 7.22).
Figure 7.22 : The Penguins link menu.

Penguins (100K GIF file)

Penguins (25K JPEG file)
Images are not the only types of files you can store externally to your Web page. Sound files, video, zip archives-just about anything can be linked as an external file. You'll learn more about this in Chapter 9, "External Files, Multimedia, and Animation."
Providing Alternatives to Images
Images can turn a simple text-only Web page into a glorious visual feast. But what happens if someone is reading your Web page from a text-only browser, or what if he or she has image-loading turned off so that all your careful graphics appear as plain generic icons? All of a sudden that glorious visual feast isn't looking as nice. And, worse, if you haven't taken these possibilities into consideration while designing your Web page, your work could be unreadable and unusable by that portion of your audience.
There is a simple solution to one of these problems. The ALT attribute of the  tag provides a way for you to substitute something meaningful in place of the image on browsers that cannot display that image.
Usually, in text-only browsers such as Lynx, graphics that are specified using the  tag in the original file are "displayed" as the word IMAGE with square brackets around it like this: [IMAGE]. (An example is shown in Figure 7.23.) If the image itself was a link to something else, that link is preserved.
Figure 7.23 : "Images" in Lynx.
The ALT attribute in the  tag provides a more meaningful text alternative to the blank [IMAGE] for your readers who are using text-only Web browsers. The ALT attribute contains a string with the text you want to substitute for the graphic:

Note that most browsers will interpret the string you include in the ALT attribute as a literal string; that is, if you include any HTML tags in that string, they will be printed as typed instead of being parsed and displayed as HTML code. This means you can't use whole blocks of HTML code as a replacement for an image-just a few words or phrases.
For example, remember in Exercise 7.2, where you used arrow icons for navigation between pages? Here are two ideas for providing text-only alternatives for those icons:
- Use text-only markers to replace the images (see Figure 7.24).
Here's the code:

On to "Gapping the New Plugs"

Back to "When You Should Replace your Spark Plugs"

Up To Index

- Hide the images altogether and make the text the anchor instead
(see Figure 7.25). Here's the code:

On to "Gapping the New Plugs"

Back to "When You Should Replace your Spark Plugs"

Up To Index

Figure 7.24 : Text markers to replace images.
Figure 7.25 : Hide the images.
A sneaky trick I've seen used for the ALT attribute is to include an ASCII art picture (a picture made up of characters, like the cow in Day 3, "Doing More with HTML") in the ALT tag, which then serves as the "picture" in text-only browsers such as lynx (unfortunately, it doesn't seem to work in graphical browsers with images turned off). To accomplish this trick, you'll need the ASCII art prepared ahead of time. Then, in your HTML code, include the entire  tag inside
...
 tags, and put the ASCII art inside the ALT attribute, like this:
Other Neat Tricks with Images
Now that you've learned about inline and external images, images as links, and how to wrap text around images, you know the majority of what most people do with images in Web pages-and you know everything that HTML 2.0 can do with images. But there are a few newer tricks to play with, and that's what this section is all about.
All the attributes in this section were originally Netscape extensions that have since been incorporated into HTML 3.2.
Image Dimensions and Scaling
Two Netscape extensions to the  tag, HEIGHT and WIDTH, specify the height and width of the image, in pixels. Both are now part of the HTML 3.2 specification.
If you use the actual height and width of the image in these values (which you can find out in most image editing programs), your Web pages will appear to load and display much faster in some browsers than if you did not include these values.
Why? Normally when a browser is parsing the HTML code in your file, it has to load and test each image to get its width and height before proceeding so that it can format the text appropriately. This usually means that it loads and formats some of your text, waits for the image to load, formats around the image when it gets the dimensions, and then moves on for the rest of the page. If the width and height are already specified in the HTML code itself, the browser can just make a space for the image of the appropriate size and keep formatting all the text around it. This way, your readers can continue reading the text while the images are loading rather than having to wait. And, because WIDTH and HEIGHT are just ignored in other browsers, there's no reason not to use them for all your images. They neither harm nor affect the image in browsers that don't support them.
If you test your page with images in it in Netscape 2.0, try choosing Document Info from the View menu. You'll get a window listing all the images in your page. By selecting each image in turn, you'll get information about that image-including its size, which you can then copy into your HTML file.
If the values for WIDTH and HEIGHT are different from the actual width and height of the image, your browser will automatically scale the image to fit those dimensions. Because smaller images take up less disk space than larger images, and therefore take less time to transfer over the network, this is a sneaky way to get away with large images on your pages without the additional increase in load time-just create a smaller version, and then scale it to the dimensions you want on your Web page. Note, however, that the pixels will also be scaled, so the bigger version may end up looking grainy or blocky. Experiment with different sizes and scaling factors to get the right effect.
Don't do reverse scaling-create a large image and then use WIDTH and HEIGHT to scale it down. Smaller file sizes are better because they take less time to load. If you're just going to display a small image, make it smaller to begin with.
More About Image Borders
You learned about the BORDER attribute to the  tag as part of the section on links, where setting BORDER to a number or to zero determined the width of the image border (or hid it entirely).
Normally, plain images don't have borders; only images that hold links do. But you can use the BORDER attribute with plain images to draw a border around the image, like this:

Frame the image

Figure 7.26 shows an example of an image with a border around it.
Figure 7.26 : An images border.
Image Previews
One completely optional Netscape extension to images is the use of the LOWSRC attribute to , which provides a sort of preview for the actual image on the page. LOWSRC is used just like SRC is, with a pathname to another image file:

When a browser that support LOWSRC encounters a LOWSRC tag, it loads in the LOWSRC image first, in the first pass for the overall page layout. Then, after all the layout and LOWSRC images are done loading and displaying, the image specified in SRC is loaded and fades in to replace the LOWSRC image.
Why would you want this? The image in LOWSRC is usually a smaller or lower resolution preview of the actual image, one that can load very quickly and give the reader an idea of the overall effect of the page (make sure your LOWSRC image is indeed a smaller image, otherwise there's no point to including it. Then, after all the layout is done, the reader can scroll around and read the text while the better images are quietly loaded in the background.
Using LOWSRC is entirely optional; it's simply ignored in older browsers.
Using Color
One way to add color to your Web pages is to add images; images can provide a splash of color amongst the black and gray and white. Several Netscape extensions to HTML, however, enable you also to change the colors of the page itself, including changing the background color of the page, changing the color of the text and links on that page, and to add "spot color" to individual characters on that page. In this section you'll learn how to do all these things.
You'll learn a whole lot about color and color theory tomorrow. Today you'll just learn how to change colors in HTML.
Naming Colors
Before you can change the color of any part of an HTML page, you have to know what color you're going to change it to. There are two ways to specify colors using the color extensions to HTML:
- Using a hexadecimal number representing that color
- Using one of a set of predefined color names
The most flexible and most widely supported method of indicating color involves finding out the numeric value of the color you want to use. Most image-editing programs have what's called a color picker-some way of choosing a single color from a range of available colors. Most color pickers, in turn, will tell you the value of that color in RGB form, as three numbers (one for red, one for green, and one for blue-that's what RGB stands for). Each number is usually 0 to 255, with 0 0 0 being black and 255 255 255 being white.
Once you have your colors as three numbers from 0 to 255, you have to convert those numbers into hexadecimal. You can use any scientific calculator that converts between ASCII and hex to get these numbers. A slew of freeware and shareware color pickers for HTML are available as well, including HTML Color Reference and ColorFinder for Windows, and ColorMeister and ColorSelect for the Macintosh. Alternately, you can use rgb.html, a form that will do the conversion for you, which you'll learn how to implement later in this book. For now, you can try out the rgb.html form at http://www.lne.com/rgb.html, which will give you the hex for any three numbers. So, for example, the RGB values 0 0 0 convert to 00 00 00, and the RGB values for 255 255 255 convert to FF FF FF.
The final hex number you need is all three numbers put together with a pound sign (#) at the beginning, like this:
The second way of indicating colors in HTML is much easier to deal with. Instead of using arcane numbering schemes, you just pick a color name: Black, White, Green, Maroon, Olive, Navy, Purple, Gray, Red, Yellow, Blue, Teal, Lime, Aqua, Fuchsia, or Silver (these colors come from the Windows color palette, which allows only 16 colors).
Although color names are easier to remember and to figure out than the numbers, they do offer less flexibility in the kinds of colors you can use (you have only 16 colors to choose from, as opposed to millions), and names are not as widely supported in browsers as the color numbers (although both Netscape and Internet Explorer do support color names). Keep that in mind if you do choose to use color names because you may lose the colors in other browsers.
Once you have a color name or number in hand, you can go on and apply that color to various parts of your HTML page.
Changing the Background Color
To change the color of the background on a page, decide what color you want and then add an attribute to the  tag called BGCOLOR. The  tag, in case you've forgotten, is the tag that surrounds all the content of your HTML file.  contains the title, and  contains almost everything else. BGCOLOR is an HTML 3.2 extension.
To use color numbers for backgrounds the value of the BGCOLOR attribute to  is the hexadecimal number you found out in the previous section in quotes. It looks like this:
To use color names, simply use the name of the color as the value to BGCOLOR:

Internet Explorer also allows you to indicate color numbers without the leading pound sign (#). Although this may seem more convenient, given that it is incompatible with many other browsers, the inclusion of the one other character does not seem like that much of a hardship.
Changing Text Colors
When you can change the background colors, it makes sense also to change the color of the text itself. More HTML extensions supported by Netscape, Internet Explorer, and HTML 3.2 allow you to globally change the color of the text in your pages.
To change the text and link colors, you'll need your color names or numbers just as you did for changing the backgrounds. With a color in hand, you can then add any of the following attributes to the  tag with either a color number or color name as their values:
|Controls the color of all the page's body text that isn't a link, including headings, body text, text inside tables, and so on.
|Controls the color of normal, unfollowed links in the page (the ones that are usually blue by default).
|Controls the color of links you have visited (the ones that are usually purple or red by default).
|Controls the color of a link that has had the mouse button pressed on it but not released (an activated link). These are often red by default.
For example, to create a page with a black background, white text, and bright purple unfollowed links, you might use the following  tag:
For Internet Explorer, using the following color names would produce the same effect:

Both of these links would produce a page that looks something
like the one shown in
Figure 7.27.
Figure 7.27 : Background and text clors.
Spot Color
When you change the text colors in a page using attributes to the  tag, that change affects all the text on the page. Spot color is the ability to change the color of individual characters inside your page, which you can use instead of or in addition to a global text color.
Yesterday you learned about using the HTML 3.2 extension  for setting the font size and font name. A third, and even newer attribute to , COLOR, lets you change the color of individual words or phrases. The value of COLOR is either a color name or number:

When we go out tonight, we're going to paint the town
RED.
You can, of course, use font spot colors in addition to font names and sizes.
Image Backgrounds
One last topic for this chapter is the ability to use an image as a background for your pages rather than simply a solid colored background. When you use an image for a background, that image is "tiled"-that is, the image is repeated in rows to fill the browser window.
To create a tiled background, you'll need an image to serve as the tile. Usually when you create an image for tiling, you'll need to make sure that the pattern flows smoothly from one tile to the next. You can usually do some careful editing of the image in your favorite image-editing program to make sure the edges line up. The goal is to have the edges meet cleanly so there isn't a "seam" between the tiles after you've laid them end to end. (See Figure 7.28 for an example of tiles that don't line up very well.) You can also try clip-art packages for wallpaper or tile patterns that are often designed specifically to be tiled in this fashion.
Figure 7.28 : Tiled images with "seams."
When you have an image that can be cleanly tiled, all you need to create a tiled image background is the BACKGROUND attribute, part of the  tag. The value of BACKGROUND is a filename or URL that points to your image file, as in the following example:

Figure 7.29 shows the result of a simple tiled background.
Figure 7.29 : A tiled background in Netscape.
Internet Explorer offers a twist on the tiled background design: a fixed tile pattern they call a watermark. The idea here is that when you scroll a page, instead of everything on the page including the background scrolling by, only the page foreground (text and images) scrolls. The tiles in the background stay rooted in one place. To create this effect, use the BGPROPERTIES=FIXED attribute to the body tag:

Hints for Better Use of Images
The use of images in Web pages is one of the bigger arguments among users and providers of Web pages today. For everyone who wants to design Web pages with more, bigger, and brighter images to take full advantage of the graphical capabilities of the Web, there is someone on a slow network connection who is begging for fewer images so that his or her browser doesn't take three hours to load a page.
As a designer of Web pages, you should consider both of these points of view. Balance the fun of creating a highly visual, colorful Web page with the need to get your information to everyone you want to have it-and that includes people who may not have access to your images at all.
This section offers some hints and compromises you can make in the design of your Web pages so that you can make everyone happy (or everyone unhappy, depending on how you look at it).
Do You Really Need This Image?
For each image you put inline on your Web page, consider why you are putting it there. What does that image add to the design? Does it provide information that could be presented in the text instead? Is it just there because you like how it looks?
Try not to clutter your Web page with pretty but otherwise unnecessary images. A simple Web page with only a few iconic images is often more effective than a page that opens with an enormous graphic and continues the trend with flashy 3D buttons, drop-shadow bullets, and psychedelic line separators.
Keep Your Images Small
A smaller image takes less time to transfer over the Net; therefore, using smaller images makes your Web page load faster and causes less frustration for people trying to read it over a slow link. What could be easier?
To create small images, you can reduce their actual physical dimensions on the screen. You can also create smaller file sizes for your images by reducing the number of colors in an image. Your goal is to reduce the file size of the image so that it transfers faster, but a four-inch by four-inch black-and-white image (two colors) may be smaller in file size than a 1/2 inch by 1/2 inch full-color photographic image. With most image-processing programs, you can reduce the number of colors and touch up the result so it looks good even with fewer colors.
A good rule to follow is that you should try to keep your inline images somewhere under 20K. That may seem small, but a single 20K file takes nearly that many seconds to download over a 14.4K baud SLIP connection. Multiply that by the number of images on your Web page, and it may take a substantial amount of time for that page to load (even if you're using a browser that can load multiple images at once. The pipe is only so wide). Will someone care about what you have in your Web page if they have had to go off and have lunch while it's loading?
The small icons that I used for the arrows in the navigation examples are 300 bytes apiece-less than a third of a K. The spider web image in the Halloween example is slightly larger than 1K. Small does not mean the image isn't useful.
Reuse Images as Often as Possible
In addition to keeping individual images small, try to reuse the same images as often as you can, on single pages and across multiple pages; for example, if you have images as bullets, use the same image for all the bullets rather than different ones. Reusing images has two significant advantages over using different images:
- Reusing images provides a consistency to your design across pages, part of creating an overall "look" for your site.
- Even more importantly, reusing images means that your browser has to download it only once. Once it has the image in memory, it can simply draw it multiple times without having to make lots of connections back to the server.
To reuse an image, you don't have to do anything special; just make sure you refer to each image by the same URL each time you use it. The browser will take care of the rest.
Provide Alternatives to Images
If you're not using the ALT attribute in your images, you should be. The ALT attribute is extremely useful for making your Web page readable by text-only browsers. But what about people who turn off images in their browser because they have a slow link to the Internet? Most browsers do not use the value of ALT in this case. And sometimes ALT isn't enough; because you can specify text only inside an ALT string, you can't substitute HTML code for the image.
To get around all these problems while still keeping your nifty graphical Web page, consider creating alternative text-only versions of your Web pages and putting links to them on the full-graphics versions of that same Web page, like this:

A text-only
version of this page is available.

The link to the text-only page takes up only one small paragraph on the "real" Web page, but it makes the information much more accessible. It's a courtesy that readers with slow connections will thank you for, and it still allows you to load up your "main" Web page with as many images as you like for those with fast connections.
One of the major features that makes the World Wide Web stand out from other forms of Internet information is that pages on the Web can contain full-color images. It was arguably the existence of those images that allowed the Web to catch on so quickly and to become so popular in so short a time.
To place images on your Web pages, those images must be in GIF or JPEG format (GIF is more widely supported) and small enough that they can be quickly downloaded over a potentially slow link. The HTML tag  allows you to put an image on the Web page, either inline with text or on a line by itself. The  tag has three primary attributes supported in standard HTML:
|The location and filename of the image to include.
|How to position the image vertically with its surrounding text. ALIGN can have one of three values: TOP, MIDDLE, or BOTTOM.
|A text string to substitute for the image in text-only browsers.
You can include images inside a link tag () and have those images serve as hot spots for the links, same as text.
In addition to the standard attributes, several new attributes to the  tag provide greater control over images and layout of Web pages. Those new attributes, most of which are now part of the HTML 3.2 specification, include the following:
|Place the image against the appropriate margin, allowing all following text to flow into the space alongside the image. In addition, an HTML 3.2 extension to
, CLEAR, allows you to stop wrapping text alongside an image. CLEAR can have three values: LEFT, RIGHT, and ALL.
|(Netscape) Allow greater control over the alignment of an inline image and the text surrounding it.
|Define the amount of space between an image and the text surrounding it.
|Defines the width of the border around an image (with orwithout a link). BORDER=0 hides the border altogether.
|(Netscape only) Defines an alternate, lower-resolution image that is loaded before the image indicated by SRC.
In addition to images, you can also add color to the background and to the text of a page using attributes to the  tag, or add color to individual characters using the COLOR attribute to . Finally, you can also add patterned or tiled backgrounds to images using the BACKGROUND attribute to  with an image for the tile.
|How can I create thumbnails of my images so that I can link them to larger external images?
|You'll have to do that with some kind of image-editing program; the Web won't do it for you. Just open up the image and scale it down to the right size.
|Can I put HTML tags in the string for the ALT attribute?
|That would be nice, wouldn't it? Unfortunately, you can't. All you can do is put an ordinary string in there. Keep it simple, and you should be fine.
|You discussed a technique for including LOWSRC images on a page that are loaded in before regular images are. I've seen an effect on Web pages where an image seems to load in as a really blurry image and then become clearer as time goes on. Is that a LOWSRC effect?
|No, actually, that's something called an interlaced GIF. There's only one image there, it just displays as it's loading differently from regular GIFs. You'll learn more about interlaced GIFs in the next chapter.
LOWSRC images load in just like regular images (with no special visual effect).
|I've seen some Web pages where you can click on different places in an image and get different link results, such as a map of the United States where each state has a different page. How do you do this in HTML?
|That's called an image map, and it's an advanced form of Web page development. It involves writing code on the server side to interpret the mouse clicks and send back the right result. I describe image maps in Chapter 17, "Image Maps."

subset: commoncrawl


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text:
Setsugekka Camellia
Setsugekka Camellia
Camellia sasanqua 'Setsugekka'Item #2177 USDA Hardiness Zone: 7 - 10
AvailabilityAdd to Favorites
Plant Description
Large, perfectly formed, semi-double, white flowers with ruffled edges and a bright center of golden stamens. The dense, semi-weeping habit and glossy, dark green foliage create an exceptional evergreen foundation planting or espalier. A mid-season bloomer.
- OverviewLight Needs:Filtered sunWatering Needs:Water regularly, when top 3 in. of soil is dry.Average Landscape Size:Moderate growing; reaches 8 to 10 ft. tall and wide.Key Feature:Cool Season FlowersBlooms:Fall through WinterLandscape Uses:
- DetailBotanical Pronunciation:kuh-MEE-lee-a suh-SAN-kwuhDeciduous/evergreen:EvergreenGrowth rate:ModerateAverage landscape size:Moderate growing; reaches 8 to 10 ft. tall and wide.Special features:WaterwiseFoliage color:Dark GreenBlooms:Fall through WinterFlower color:WhiteFlower attributesFlowers for Cutting, Showy FlowersDesign IdeasThis semi-double white Camellia makes a wonderful backdrop to a moonlight garden in backyard beds close to your outdoor living space. A must for Asian or woodland settings under large, old shade trees with filtered canopies. Dress up a wall or garage as a shrub or train the dense, spreading habit of this Camellia as an espalier for a formal look.Companion PlantsPair with other pure white bloomers like Astilbe, Hydrangea, Azalea, Gardenia and Lilac for a beautiful moonlight garden. For an Asian theme, design with mixed Azaleas, Heavenly Bamboo, Dogwood, Japanese Maples, Lily of the Valley, Iris and Rodgersia.
- CareCare InformationProvide organically rich, well-drained, acidic soil. Keep roots cool with a thick layer of mulch. Water deeply and regularly during the first growing season to establish an extensive root system; reduce frequency, once established. Prune lightly to shape and feed with an acid fertilizer after flowering.Pruning time: winter to spring, after flowering.Light Needs:Filtered sunWatering Needs:Water regularly, when top 3 in. of soil is dry.
- History & LoreHistory:Sometimes referred to as Christmas Camellias, the sasanqua varieties of Camellia are native to the evergreen, coastal forests of southern Japan. It was introduced by Dutch traders into Europe in 1869. Setsugekka originated in Japan by Jisuke Minagawa. The Japanese use the leaves of sasanqua to make tea, and the seeds are pressed into tea seed oil for use as a lubricant and in cooking and cosmetics.
10 Evergreen Shrubs for Privacy (Zone: 8 – 11)
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text:
Truthfully, my family doesn't complain, and if I don't fix dinner, we eat out. But I do need to get some cleaning done!
There once was a blogger named Jay
Who worked on her blog night and day.
She did it to "vent" –
Not to pay rent –
Because she had "something to say".
But that blog took up every hour,
And she no longer had time to scour
The sink or the tub;
And there was the rub:
The house began to smell sour.
The shelves had a layer of dust
And the pots had started to rust.
She didn't fix dinner
And her family grew thinner,
So of course they started to fuss.
"We know that you write some good stuff
(Though sometimes you're just a bit rough).
All the while you're blogging
The toilet needs un-clogging!
We think enough is enough!"
So this blogger agreed to spend time
Ridding the house of the grime:
Dirty dishes galore,
Dirt on the floor,
Mountains of laundry to climb.
She cleaned till it started to shine,
And found that she even had time
To fix a nice meal
(Though as part of the deal,
She'd thought they would go out to dine).
And then when a new day arose
She started again to write prose.
She did it to "vent";
It won't pay the rent,
But I guess that's just how it goes!


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Update April 02, 2013
I have finally cooked up a map of my route to Chuck's. Click the below link. Speaking of updates, I visited Chuck's a few weeks ago and here are the changes I found: Seems they are up to some 36 taps now. They have added another flat screen below the first in order to list their tap lineup. It's busy there these days! Good thing Chuck's is working on opening a new location – in the Central District I believe. There was an employee bringing out brats or whatever sandwiches they server there and calling out the name of its recipient. In other words, the place is a touch more restaurant-like. They have a neat new, more graphically-pleasing lighted sign that sports the "Chuck" image from their logo. Enjoy the new, lovingly produced map!
Update August 08, 2012:
I have a confession to make: This concept of mine was originally supposed to be a feature in a periodical, but one publication pulled the plug on it, in addition to wanting to make their own changes and cuts to it, and wanting me to change the name of the whole thing. Another publication needed me to cut it down in length which I never got around to doing.
This helps explain why this entry is so lengthy. It is long also due to its being the inaugural entry which includes background information. The route to Chuck's is one that I know well and I was thus able to impart lots of detail.
I took lots of pics that chilly night, and now have many of them up for your viewing pleasure. Details not revealed in the original account of this adventure are included in the captions.
I have gotten up to Chuck's a couple more times since the trip described below. A few changes have been made. There are now a total of 30 beers on tap – something that was planned when I spoke to Chuck that night. They removed the espresso machine and something else to make room.
They seem to have more employees now, which is great for us, the customer. They all seem pretty professional and friendly and are on board with the generous sampling policy.
The bike rack has been moved. When I rolled up on that record-breakingly hot day – after changing a flat tire on the way – I thought they had done away with the rack. On this day I had already adventured up to Lake City to visit the relatively new Elliot Bay Brewing Co. establishment. (Yep, I will share that cool trip with you). I intended to hit the RAM in the Northgate Mall on the way back, as my route takes me right by it. I knew that the RAM in University Village has growler fills for about $6 on Saturdays, and I wanted to find out if the location in Northgate did as well. Hence the glassware that was helping make me a stronger hill climber that 90 degree day. But I forgot to stop, and rolled on past the Mall!
Okay, the bike rack: I leaned my bike up against the low fence that housed a full outdoor seating area that day and went inside where I was graciously offered a pint of water (which at Chuck's is unfiltered and out of the sink – not that I was ungrateful!). I found out the rack is now over in the corner by the wooden fence that separates Chuck's lot from the house next door. With cars parked there, you have to squeeze your bike back there. On this day, after squeezing in and locking up, I was blocked in by a baby stroller and a dog. I had to laugh.
One thing I will add regarding Chuck's is that growler fills range from expensive to wow! expensive! It seems to me that they take the price of a pint, multiply it by four and then knock of a couple bucks or so. This doesn't seem to be the prevailing pricing concept out there behind growler fills, thankfully. Also interesting is just how expensive some of the pints are. On this visit, I saw, I believe, Namaste from Dogfish Head priced at $11 per pint. Fortunately, there are many pints that are priced at about the going rate of 4.50 to 5.50 which is the neighborhood in which I reside. I understand that some beers are pretty rare and perhaps hard to come by, and this is likely why they are priced as they are here.
Enjoy the new pics in this account of Chuck's Hop Shop!
On this adventure I visited Chuck's on 85th (656 NW 85th St). These days, more commonly called Chuck's Hop Shop
Chuck's is something very unique to me: a convenience store that pours beer. To me, placing the terms quickie mart and beer in the same sentence conjures the image of light yellow, mass-produced fluid. Convenience stores in our region of the country do carry a lot of good beers and wines though; this is a phenomenon of which I took note early on and have enjoyed. Chuck's has a fantastic selection of bottled beers to be sure. Their slogan is "Land of a Thousand Beers." But a mini mart that has beer on tap? You're kidding! Actually, I know of two such stores in Seattle. The other, Super Deli Mart in West Seattle, I visited a couple times a while back and would like to visit again.
I have to say, the first time I actually drank a beer inside a convenience store, I felt like I was doing something wrong. It's still such a foreign concept to me. But I love it! It adds, for me, a whole new aspect of enjoyability. It's weird. And judging by the steady flow of beer lovers I have seen each time I have visited Chucks, I am certainly not alone. Whether coming in to grab a stool at the small "bar" or a seat at one of the tables in the seating area where you often find families and a dog or two, customers privy to this phenomenon are numerous. Just as plentiful, if not more, are customers who arrive toting a growler or two to be filled. So plentiful are beer customers at Chucks, that the owner, Chuck, told me that beer and beer-related sales account for about 80% of his sales! He says that in the earlier days this number was 20 to 30 percent.
The evening that I set out for this visit was the Tuesday before the big snow storm. It was chilly, but not too bad. The roads did not begin to glisten until I got up onto Phinney Ridge. The snow held off until I was home. I began to believe the TV weatherpersons' threats as I observed a cop car equipped with tire chains.
From the ferry, I headed toward Fremont. My normal route is straight up Marion to 4th where I turn left. Those climbs from 1st to 4th make you hope for red lights. Once I reach 4th, the light is usually red which allows me to triumphantly make a left turn in front of the stopped cars and proceed on the left side of 4th which is a one-way northbound street. This keeps you from having to deal with buses.
As I rode through downtown, I thought about how some of the pictures I would take that night at Chucks would provide a clever contrast between the appearance of a mini mart and a taproom. What I found in actually snapping those shots was that there is not much of Chucks that doesn't clue you in that you are in a special place – special for those who imbibe. With all the aisles of wine and beer bottles it was hard to get a shot of typical convenience fare. There are a few aisles though that hold the standard candy bars, crackers, laundry soap and cans of pet food.
Once I reach Blanchard, I turn right. I try to wind up on the left side of this one-way street as well. At 7th, I turn left. It's on this street that one begins to see the recent improvements in bike amenities. A few months ago, a car traffic lane was eliminated and dedicated to a striped zone that separates the car lane from the bike lane. This puts a great big smile on my face, though I always think about how it doubtless angers as many motorists as cyclists it benefits. Coincidentally, on one of my visits to West Seattle's Super Deli Mart I overheard an old gentleman complaining, over a pint, to his buddy about the lunacy of this very thing.
7th curves and becomes Dexter, which takes you into Fremont but you will eventually deal with a steady climb before you get there. Shortly after the light at Denny, however, please be careful, and think about the man who was killed recently by a driver who turned left in front of him. For a while there was a bicycle, painted all white, with memorial decorations at the crash site. A sign said "a cyclist died here."
Along this stretch of Dexter, you are treated to some very nice bike facilities. There was a bike lane there before, but now it is improved, and the road is new and smooth. It's hard to overemphasize how much I enjoy rolling along a stretch of road with good bike features. At cross streets, for example, there are multiple sharrows symbols on the ground that seem to be there to make it perfectly clear to emerging motorists that there will be bikes here, and they belong here. Someone in Seattle leadership finds cyclists a to be a priority. This islander is very jealous.
At Mercer St, you will likely wait at the red light. A while after the aforementioned climb, you will enjoy a nice descent that ends at the big intersection before the Fremont Bridge where you will also wait. There is a sign there that states that cyclists should use the pedestrian signal. This has always made me think I either need to cross at the crosswalk, or at least press the button. What has worked fine for me is to dismount and run across when I finally receive the walk signal. I suppose I could ride across, but I like to show good faith to drivers. Once across, I follow the bike symbol on the ground that welcomes me onto the sidewalk and across the bridge in the dedicated pedestrian/cyclist lane. After crossing the bridge, bikes are supposed to leave the sidewalk concrete and rejoin the road where we have painted road symbols giving us the right of way to go straight through the right turn lane and through the light. Be very aware, though, that a good number of drivers do not understand, or respect, this right and will make the right turn across your path.
Once through the bustling core of Fremont, you will likely have a nice wait at 39th where you can collect your thoughts and prepare for the climb. Here my mind goes to my prior visits to Chuck's. During tonight's visit he would tell me that they currently have around 800 beers from which to choose. But he hopes to up that to the thousand touted on the logo tshirt that I am sporting under a couple layers. The beer taps number 23 and 7 more are planned.
One particularly great thing that you will find at Chuck's, in addition to a flat screen for normal viewing pleasure, is the dedicated flat screen TV that serves as their tap list. I first saw this priority-revealing move employed at Portland's Apex, and loved it. And here it is in a convenience store.
Sometimes I really love living here. But I still have Portland envy. Viewing Apex's website recently, I was was reminded that there is "always tons of bike parking" and invited to "drink, don't drive." These two statements sync with the experiences I had in Portland. While Western Washington is a pretty good region for cycling, I must say that with a few notable exceptions, most places I visit in Seattle, and all of them in Kitsap, have one bike out front: mine.
Now on to the ascent. During the day, you may find yourself jockeying with buses here. At 50th, you will need to turn left as the zoo is ahead. Likely, you will wait at this light. Like most lights, it does not sense cycles (or motorcycles in my experience). Often I have given up and made my left turn at the crosswalk in front of me and proceeded on the sidewalk until there was a gap in traffic that allowed me to ride across the street. Of course, you're on your own if you choose to do things like this. Soon the road makes a right turn and you are now on Phinney Ave. At 67th St, the road curves left and then right. Now you are on Greenwood Ave.
On this stretch of the journey you will pass the Park Pub, 74th Street Ale House, and if you were to continue to near 87th, Naked City, which pours a wide variety of mostly Western U.S. craft brews in addition to Naked City brewed beers which are quite tasty.
Tonight we will continue on to our goal and turn left on 85th. From this point on to Chucks, I actually ride on the sidewalk for safety reasons. I do this whenever it seems too dangerous to be out on the roadway. There are just some places where it is clear that the odds are way too stacked against cyclists. It's my understanding that riding on the sidewalk is legal in Seattle. If not, then those bike "Ambassadors" downtown have some explaining to do. I have never looked into what those folks actually do, but I think it is probably something good. Of course when I ride on sidewalks, I go slowly, scanning intensely for danger, and giving right of way to pedestrians.
Now I am quite close to my destination. It is just several blocks of sidewalk riding. A note of interest: The Greenwood Market that you pass on this stretch is closing. This, of course, is part of the small chain that originated with Town & Country Market here on the island. Tonight at Chuck's I heard more than one customer reference this closing and say that it would add to Chuck's business. I'm not sure about this, as there is a Fred Meyer next door to Greenwood Market.
From your sidewalk vantage point, you will not get a great view of Chuck's coming up ahead. There is a lighted sign above, and there are usually sandwich boards on the corner at of 85th and 8th.
You will find a bike rack in front, though it is small and not attached to anything. With cargo, my bike easily outweighed the rack.
I came prepared this evening with a small list of questions for Chuck. I proceeded toward the back part of the store where the man himself cheerfully asked what I would like to try. This is an important facet of the experience at Chuck's – the cordial and sincere offer to try samples. Chuck says he is willing to let someone sample all of his draft beers. Now that's cordial. In fact, on my first visit, he invited me to sample a beer, saying "don't be shy." This is something upon which Chuck expanded this evening, explaining that he wants customers to find the beer they like without being embarrassed to ask for a sample.
I found a seat and ordered a half pint. Here is another important point: Chuck's offers half pints at half the price of full pints. To someone who wants to taste a wide variety of beers, and is cost-conscious, this is awesome. At most places, a schooner size beer costs significantly more per ounce, which discourages the value hound from ordering the smaller size, and limits the amount of different beers they can try.
As Chuck juggled manning the register up front and tending "bar", I sipped my beer and studied the big screen, planning my next beer choice. As he had time Chuck allowed me to run through my list of questions.
Q 1: What is your favorite beer?
A 1: Chuck listed three types: IPA, Barleywine and Imperial Stout. He currently likes Laurelwood's Workhorse IPA and Ironhorse's Cinco de Drinco IPA. He said that he likes the barleywine currently offered by Ninkasi. In Imperial Stouts, he enjoys North Coast's Old Rasputin and Great Divide's Yeti.
Q 2: How long have you had the store?
A 2: Two years in March.
Q 3: When did you start pouring beers?
A 3: May 2011. He currently has 23 taps and plans to up that to 30. He may do away with the espresso machines to make room. The morning crowd is dying out somewhat, he explains, adding that Chuck's used to be a convenience store with beer and is becoming a beer store with convenience store items.
Q 4: What inspired you to start serving beer here?
A 4: He simply appreciated good beer, carried good beer, and it "took on a life of its own."
Q 5: Is most of the store's beer business done by neighborhood folks, or by folks from other areas?
A 5: 80% comes from the neighborhood. The rest have heard about this "family beer store."
Q 6: What does the future hold for Chuck's on 85th?
A 6: Chuck reminded me of the goal to live up to the slogan "Land of a Thousand Beers." As for beers on tap, he says that only four were originally planned, but this "neighborhood driven" store responded to demand.
Chuck intimated that in the beginning he didn't know how to be a beer store, but has learned along the way. He also expanded upon something that I had read: This convenience store, prior to his ownership, used to be something different, specializing more in things like porn and Four Loco. In the realm of beer, Chuck says that people appreciate that his store is not like a bar, rather it is something more family friendly. He says the neighborhood has taken notice. People want to move to the neighborhood because of him, he stated with pride. I believe it. As someone who not only appreciates good beer, but service without attitude, I too would have Chuck's on 85th in the "pro" column of my checklist.
After savoring my favorite selections from the flat screen menu, my mind necessarily turned toward the buzz-killing question: Which boat will I take home? It was time to leave.
Here's a tip: If you find yourself in the Greenwood neighborhood on a Tuesday night, and like me, you have hauled two growlers with you, stop in Pillager's Pub for 1/2 price growler fills! Pillager's is where the local Baron Beer and Three Skulls Ales are poured. They are located across the street from Naked City, and diagonally across from Safeway.
The route home is a simple reversal of the way you got to Chucks, except for where you near downtown. One way streets dictate that once you find yourself at 7th and Bell you turn right, toward downtown. I take the left side of this one way street. Along this stretch you will deal with a few lights that don't recognize your bike and/or are simply on a timer. I always wonder about just how traffic signals work, don't you? Proceed to 2nd and turn left onto this one way southbound street. Be aware of the cars that are seeking parking spots in front of you, or will make left turns across your path, despite the signage forbidding it. At Columbia, turn right and take this street to the ferry terminal.
Thanks so much for joining me on this inaugural voyage of Two Pedals, a Couple Pints. I look forward to more adventures with you. Cheers, and keep those wheels turning!


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Sherrin Synthetic Indigenous Yellow Football
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Celebrate the relationship between the game of AFL and Indigenous Australia during this years Sir Doug Nicholls round, with this Sherrin Synthetic Indigenous Yellow Football. Featuring an all-weather conditions rubber synthetic, this ball is suitable for all surfaces to let you kick the footy around anywhere and anytime. Featuring the signature Sherrin and AFL logos, the ball is complete with a unique all-over Indigenous design; marking the significant contributions and impacts the incredible Indigenous players have made on our game.


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Recently I've become hooked on a new Netflix series called "Top of the Lake," a crime drama set in rural New Zealand. If you want to watch this show, spoiler alert! Don't read anymore. This blog post is mostly a character analysis and some conversations as they relate to my life, but you might not want to know all the details of the show yet.
The main character, Detective Robin Griffin (played by Elizabeth Moss), works with her own inner demons as she investigates the disappearance of a 12-year-old girl. In the midst of big life changes, Robin experiences her mother dying, a lack of commitment to her fiancé, and she has no real home. She's at that in-between stage, the stage just before the jumping-off point, or maybe it is the jumping-off point. Maybe that is the jumping point, the slow-motion process of being in mid-air, just about to land in a different stage of life, of being more settled into something more stable. Right now she's just flying, falling, groundless. She's tough yet vulnerable, and I love her.
I just love Elizabeth Moss. I rooted for her character in "Mad Men," in which she played a similar character who was taken advantage of by a total jackass, and she was so devastatingly vulnerable, yet she came out stronger and tougher. Not that I always liked her character or agreed with the decisions she made, and I don't think that hardening oneself is the solution (it certainly hasn't worked for me), but what I liked was that she became a successful career woman and did her own thing.
That's one thing that Moss's characters have that I don't: workaholism. I wish that being a workaholic was my problem. I've read that workaholism doesn't satisfy a person's need for peace, or whatever it is that they're searching. Still, at least that person has that going for them. For me, I wouldn't mind if I never had to work. Some people say they'd be bored if they didn't have a job. Not me. I would be perfectly happy if I never had to work another day in my life. I would focus on my hobbies all day long… most of which, unfortunately, cost money. I wish there was a job out there that didn't feel like work to me. As I watch "Top of the Lake," I wonder what life would've been like as a detective. Sure seems fascinating on TV. Ah well.
On the other hand, there's GJ, played by Holly Hunter. I loathed GJ (I thought she was an arrogant bully) and her entire colony (I judged them for being weak and foolish) up until the last episode or two, when she says to them, "Wake up!" I'm paraphrasing here, but she basically tells them there's no answer, this is IT, deal with it. You are literally living in Paradise, and are you happy with it? No. There are still problems. As much as I would love to live in a utopian tiny house community in the woods with a bunch of soul seekers like myself, it turns out life still happens there. At one point she tells them meditating won't pay the bills. Haha! So true! You still have to take action. She says you have to die to be reborn. Also true! My question is, how long do I have to go through this pain to be reborn? GJ tells a young mother, whose baby is crying in the background, to go and learn from her real teacher (her baby), and the mother doesn't understand. GJ shushes her. "Listen," she says. Pay attention, she says. But of course the mother doesn't want that answer. They all want answers, and they all think GJ has them. She's the Buddha-like figure who basically proves that she has the answer, which is that there is no answer. Or that the answer is right here, in front of your face, and you know the answer but you don't want to accept it. I don't want to accept it. How can that be the answer? That's not the answer I want. I don't want to do all the work. I want everything to be easy.
At one point GJ asks Robin, "Are you on your knees yet?" Meaning, have you finally surrendered? Have you finally experienced enough pain that you're ready to change? Robin says yes, and GJ goes, "Good." How true! I am on my knees, and have been for a long time, and I really, desperately want to climb out of this pit. I just don't know how. Because, now what? And clearly I haven't fully surrendered yet, or else I wouldn't be writing this blog post.
As far as my relationship goes, the honeymoon period is over. I don't know what happens next. I honestly have no idea. And that scares me.
As far as my career-hunting goes, I've started on a path, found out that it takes a lot of work and sacrifices I don't want to make, and now I want out.
As far as my living situation goes, I moved into a shared house last March, with the knowledge that this was temporary, and in the hopes that I'd be moving in soon with my boyfriend. That's not going to happen now, though it may still later, but it feels like I'll be 60 years old and living like a college student for the rest of my days.
This is how I've lived my entire life. I start down some road, then decide I don't like it, and I start over. I don't know what this–whatever "this" may be–is going to look like, so I want out. And I get out, only to start over again and eventually find myself stuck in the same place. Two years ago I gave up everything: a good house, a good job, a good husband. But good wasn't good enough! It was boring, unfulfilling. Day in and day out, the same thing. Dead inside. I'm not saying that I need to go try to go back there, not that I can now, but I know, intellectually, that the answer is within me. I can change all the things around me, and it doesn't matter, because I'm still here. I am the one who needs to change.
So I'm trying to do that. It's just an extremely slow process, and I question whether it's working, or if I should try something new. I question whether I am relationship material. I question whether I am cut out for having any kind of career. What I want is to know in my heart and soul and in my bones is that this is the man of my dreams and this is the job of my dreams. And that just ain't happening right now.
And I get it. My mom died, and that changed everything. It cast a new light on my life, and made me stop and question, yet again, is this really what I want to do with my life? What does this really mean? Why did she have to die now? I thought I was doing what I was supposed to be doing, and yet, this happened, causing me to question my actions, yet again. Am I really truly living the most meaningful, purposeful life I can live?
Regardless, I'm staying the course for now. I return to school in January and we'll see how it goes. My boyfriend and I are staying together for now, and are committed, today, to trying to make it work. And he has felt like the man of my dreams before, but man. This is a lot of work.
Is there really a man of your dreams, or job of your dreams? No. I don't think so. There's no Santa Claus, kids! I figured that out a couple of years ago, and thought that although there's no Santa, there is a God. But right now that just doesn't comfort me, because I know I still have to do the work, and I don't know what that means.
In the meantime I will continue to try to live a spiritual life—which, by the way, is taking on a new meaning for me. And I will continue to take the actions I've learned, and am learning, and maybe just pray for patience. I don't know what else to do.