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¿Qué es WordPress?

Antes de empezar esta guía de contenidos he creído esencial explicar en primer lugar qué es, para que sirve y qué beneficios otorga un WordPress respecto a otro tipo de CMS.  ¿Qué es un CMS? Son las siglas de Content Management System (Sistema de gestión de contenidos), es un programa informático que permite manejar en un entorno de trabajo web los artículos y datos de tu página, debe tener un diseño intuitivo y que los contenidos sean visibles para todo el público.

A buen Blog, pocas palabras faltan

Curso de Desarrollo Web

¿Para qué sirve WordPress?

Actualmente está en auge internet, gracias a él las personas pueden comunicarse mediante un ordenador o dispositivos móviles. Por ello la presencia en esta red se ha convertido en algo esencial para vender tus servicios y WordPress te permite de manera fácil, ágil e intuitiva conseguir estos fines. Crear un blog propio se puede volver una tarea difícil y por ello en esta guía repasaremos como crear tu propia web y gestionar sus contenidos y recursos.

Esperamos que os haya gustado el curso.

Inicio a WordPress

Antes de empezar con la elección de un alojamiento en dónde vamos a montar nuestra web, es necesario conocer qué requisitos necesita WordPress para no sólo ser instalado sino para funcionar correctamente. 

WordPress es un sistema creado en un código llamado PHP (Hypertext Preprocessor) , así que uno de los requisitos es que el hosting en dónde alojemos la web tenga soporte para ese código.  Además necesitaremos una base de datos en dónde se almacenará los actualizaciones y datos de nuestras páginas y publicaciones.  Y ya, para terminar es importante que el sitio dónde la alojemos sea HTTPS, esto es un protocolo seguro de transferencia que hará que nuestra web sea más segura.

Para una información más específica sobre estas tecnologías podemos ver la información en la página web oficial : https://es.WordPress.org/about/requirements/

Multiple Page Post

The only sign of commercial activity within the harbour, visible from the beach of the Great Isabel, is the square blunt end of the wooden jetty which the Oceanic Steam Navigation Company (the O.S.N. of familiar speech) had thrown over the shallow part of the bay soon after they had resolved to make of Sulaco one of their ports of call for the Republic of Costaguana. The State possesses several harbours on its long seaboard, but except Cayta, an important place, all are either small and inconvenient inlets in an iron-bound coast—like Esmeralda, for instance, sixty miles to the south—or else mere open roadsteads exposed to the winds and fretted by the surf.

Perhaps the very atmospheric conditions which had kept away the merchant fleets of bygone ages induced the O.S.N. Company to violate the sanctuary of peace sheltering the calm existence of Sulaco. The variable airs sporting lightly with the vast semicircle of waters within the head of Azuera could not baffle the steam power of their excellent fleet. Year after year the black hulls of their ships had gone up and down the coast, in and out, past Azuera, past the Isabels, past Punta Mala—disregarding everything but the tyranny of time. Their names, the names of all mythology, became the household words of a coast that had never been ruled by the gods of Olympus. The Juno was known only for her comfortable cabins amidships, the Saturn for the geniality of her captain and the painted and gilt luxuriousness of her saloon, whereas the Ganymede was fitted out mainly for cattle transport, and to be avoided by coastwise passengers. The humblest Indian in the obscurest village on the coast was familiar with the Cerberus, a little black puffer without charm or living accommodation to speak of, whose mission was to creep inshore along the wooded beaches close to mighty ugly rocks, stopping obligingly before every cluster of huts to collect produce, down to three-pound parcels of indiarubber bound in a wrapper of dry grass.

And as they seldom failed to account for the smallest package, rarely lost a bullock, and had never drowned a single passenger, the name of the O.S.N. stood very high for trustworthiness. People declared that under the Company’s care their lives and property were safer on the water than in their own houses on shore.

Typesetting & Design

Human faces are very powerful. User Experience designer Aarron Walter describes in his book Designing for Emotion why we appreciate human faces so much. He explains that we are constantly exploring the world around us by looking for something familiar. Familiarity gives us a feeling of comfort and reassurance.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

Human Faces in Web Design

Human faces are very powerful. User Experience designer Aarron Walter describes in his book Designing for Emotion why we appreciate human faces so much. He explains that we are constantly exploring the world around us by looking for something familiar. Familiarity gives us a feeling of comfort and reassurance.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

Block Quote Example

Meantime Giorgio, with tranquil movements, had been unfastening the door; the flood of light fell on Signora Teresa, with her two girls gathered to her side, a picturesque woman in a pose of maternal exaltation. Behind her the wall was dazzlingly white, and the crude colours of the Garibaldi lithograph paled in the sunshine.

Old Viola, at the door, moved his arm upwards as if referring all his quick, fleeting thoughts to the picture of his old chief on the wall. Even when he was cooking for the “Signori Inglesi”—the engineers (he was a famous cook, though the kitchen was a dark place)—he was, as it were, under the eye of the great man who had led him in a glorious struggle where, under the walls of Gaeta, tyranny would have expired for ever had it not been for that accursed Piedmontese race of kings and ministers. When sometimes a frying-pan caught fire during a delicate operation with some shredded onions, and the old man was seen backing out of the doorway, swearing and coughing violently in an acrid cloud of smoke, the name of Cavour—the arch intriguer sold to kings and tyrants—could be heard involved in imprecations against the China girls, cooking in general, and the brute of a country where he was reduced to live for the love of liberty that traitor had strangled.

Then Signora Teresa, all in black, issuing from another door, advanced, portly and anxious, inclining her fine, black-browed head, opening her arms, and crying in a profound tone — “Giorgio! thou passionate man! Misericordia Divina! In the sun like this! He will make himself ill.” At her feet the hens made off in all directions, with immense strides; if there were any engineers from up the line staying in Sulaco, a young English face or two would appear at the billiard-room occupying one end of the house; but at the other end, in the cafe, Luis, the mulatto, took good care not to show himself. The Indian girls, with hair like flowing black manes, and dressed only in a shift and short petticoat, stared dully from under the square-cut fringes on their foreheads; the noisy frizzling of fat had stopped, the fumes floated upwards in sunshine, a strong smell of burnt onions hung in the drowsy heat, enveloping the house; and the eye lost itself in a vast flat expanse of grass to the west, as if the plain between the Sierra overtopping Sulaco and the coast range away there towards Esmeralda had been as big as half the world.

Signora Teresa, after an impressive pause, remonstrated — “Eh, Giorgio! Leave Cavour alone and take care of yourself now we are lost in this country all alone with the two children, because you cannot live under a king.”

And while she looked at him she would sometimes put her hand hastily to her side with a short twitch of her fine lips and a knitting of her black, straight eyebrows like a flicker of angry pain or an angry thought on her handsome, regular features.

It was pain; she suppressed the twinge. It had come to her first a few years after they had left Italy to emigrate to America and settle at last in Sulaco after wandering from town to town, trying shopkeeping in a small way here and there; and once an organized enterprise of fishing—in Maldonado—for Giorgio, like the great Garibaldi, had been a sailor in his time.

Sometimes she had no patience with pain. For years its gnawing had been part of the landscape embracing the glitter of the harbour under the wooded spurs of the range; and the sunshine itself was heavy and dull—heavy with pain—not like the sunshine of her girlhood, in which middle-aged Giorgio had wooed her gravely and passionately on the shores of the gulf of Spezzia.

You go in at once, Giorgio

“You go in at once, Giorgio,” she directed. “One would think you do not wish to have any pity on me—with four Signori Inglesi staying in the house.” “Va bene, va bene,” Giorgio would mutter. He obeyed. The Signori Inglesi would require their midday meal presently. He had been one of the immortal and invincible band of liberators who had made the mercenaries of tyranny fly like chaff before a hurricane, “un uragano terribile.” But that was before he was married and had children; and before tyranny had reared its head again amongst the traitors who had imprisoned Garibaldi, his hero.

There were three doors in the front of the house, and each afternoon the Garibaldino could be seen at one or another of them with his big bush of white hair, his arms folded, his legs crossed, leaning back his leonine head against the side, and looking up the wooded slopes of the foothills at the snowy dome of Higuerota. The front of his house threw off a black long rectangle of shade, broadening slowly over the soft ox-cart track. Through the gaps, chopped out in the oleander hedges, the harbour branch railway, laid out temporarily on the level of the plain, curved away its shining parallel ribbons on a belt of scorched and withered grass within sixty yards of the end of the house. In the evening the empty material trains of flat cars circled round the dark green grove of Sulaco, and ran, undulating slightly with white jets of steam, over the plain towards the Casa Viola, on their way to the railway yards by the harbour. The Italian drivers saluted him from the foot-plate with raised hand, while the negro brakesmen sat carelessly on the brakes, looking straight forward, with the rims of their big hats flapping in the wind. In return Giorgio would give a slight sideways jerk of the head, without unfolding his arms.

Standard Format with Featured Image

At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent. Sky, land, and sea disappear together out of the world when the Placido—as the saying is—goes to sleep under its black poncho. The few stars left below the seaward frown of the vault shine feebly as into the mouth of a black cavern. In its vastness your ship floats unseen under your feet, her sails flutter invisible above your head. The eye of God Himself—they add with grim profanity—could not find out what work a man’s hand is doing in there; and you would be free to call the devil to your aid with impunity if even his malice were not defeated by such a blind darkness.

The shores on the gulf are steep-to all round; three uninhabited islets basking in the sunshine just outside the cloud veil, and opposite the entrance to the harbour of Sulaco, bear the name of “The Isabels.”

There is the Great Isabel; the Little Isabel, which is round; and Hermosa, which is the smallest.

Get Small To Get Big

If we trace a path that starts with Gutenberg’s use of moveable type to Malcom McLean’s invention of the shipping container, we start to recognize a very interesting pattern: Each new layer of abstraction and standardization creates value out of the resulting increases in scale and efficiency.

Today’s digital innovators can trace a similar historical path that starts with mainframe computers and monolithic applications and then, step-by-step, reveals software’s interchangeable parts until we arrive at today’s cloud-based era of microservices and continuous integration.

Microservices is an approach to building software that shifts away from large monolithic applications toward small, loosely coupled and composable autonomous pieces. The benefit of this abstraction is specialization, which drives down costs to develop and drives up agility and quality — while operating much more resilient systems.

¡Hola mundo!

Lorem Ipsum es simplemente el texto de relleno de las imprentas y archivos de texto. Lorem Ipsum ha sido el texto de relleno estándar de las industrias desde el año 1500, cuando un impresor (N. del T. persona que se dedica a la imprenta) desconocido usó una galería de textos y los mezcló de tal manera que logró hacer un libro de textos especimen. No sólo sobrevivió 500 años, sino que tambien ingresó como texto de relleno en documentos electrónicos, quedando esencialmente igual al original. Fue popularizado en los 60s con la creación de las hojas “Letraset”, las cuales contenian pasajes de Lorem Ipsum, y más recientemente con software de autoedición, como por ejemplo Aldus PageMaker, el cual incluye versiones de Lorem Ipsum.

¡Hola mundo!

Lorem Ipsum es simplemente el texto de relleno de las imprentas y archivos de texto. Lorem Ipsum ha sido el texto de relleno estándar de las industrias desde el año 1500, cuando un impresor (N. del T. persona que se dedica a la imprenta) desconocido usó una galería de textos y los mezcló de tal manera que logró hacer un libro de textos especimen. No sólo sobrevivió 500 años, sino que tambien ingresó como texto de relleno en documentos electrónicos, quedando esencialmente igual al original. Fue popularizado en los 60s con la creación de las hojas “Letraset”, las cuales contenian pasajes de Lorem Ipsum, y más recientemente con software de autoedición, como por ejemplo Aldus PageMaker, el cual incluye versiones de Lorem Ipsum.