In this article, Maggie Mackenzie investigates the intricate dynamics associated with the relationship between creativity and technology and discussing whether or not creativity still exists. She will explore what creativity looks like and who (or what) is it now coming from. Ultimately, if creativity is truly being impacted by technology, is there a way to find the balance between the human and the digital?
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Every professional has a comfort zone. The first sign you’re in it is when you see no challenge on the horizon. You know pretty much everything you need to perform well, and if anything unfamiliar comes your way it can be solved fairly quickly. It can take a while to realize you’ve stopped moving, and working on freelance projects seems like the only way to keep your brain busy. Do you have a dream project, application, big or small idea? You can do it. You just need to start.
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In this final part of this series, Jon Hensley will focus on the principles of continuation and common fate, which involve movement, both implied and animated, to create relationships. Using these principles, along with the principles of similarity, proximity, closure and figure-ground, will strengthen your own design skills and help you create a better experience for your users. Oh, and one final thing. After applying these principles, make sure to test out your designs with users to see what works best for them.
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In this article, Jon Hensley will focus on the principles of closure and figure-ground, which play with positive and negative space to build relationships and create wholes with the sum of their parts. As in the first article, he’ll look at how the principles work and then move on to real-world examples to illustrate them in use. Understanding how to use closure and figure-ground will help you build strong relationships and differences between elements in your designs.
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Understanding how to use similarity and proximity to affect the relationships between elements in your work will help you create designs that enable easier organization and improve the usability of your work. In this first article, Jon Hensley will take a look at how the principles of similarity and proximity work, and look at real-world examples to illustrate them in use so that you can begin to use similarity and proximity to create both relationships and differences between elements in your designs.
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Does every site looks the same to you? With so many tools and resources, web designers have to be generic to fit content in frameworks and templates. If everyone just follows best practices, we’ll create the perfect web. In this case, what’s the point of web designers if there’s a recipe? Creating empty carousels and sexy hero images is easy. Adding meaning through design is much more difficult. In this article, let’s consider content, rules and pattern fatigue as major obstacles to creativity online. How can we break through it?
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Balancing a composition involves arranging both positive elements and negative space in such a way that no one area of the design overpowers other areas. Everything works together and fits together in a seamless whole. The individual parts contribute to their sum but don’t try to become the sum. An unbalanced composition can lead to tension. In some projects, unbalanced might be right for the message you’re trying to communicate, but generally you want balanced compositions. However, design principles aren’t hard and fast rules. They’re guidelines. There’s no one right way to communicate that two elements are similar or different, for example. You don’t need to follow any of these principles, although you should understand them and have a reason for breaking them.
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Compositional flow determines how the eye is led through a design: where it looks first, where it looks next, where the eye pauses, and how long it stays. You have a lot of control over where people look when they’re viewing a webpage you’ve designed. On a text-heavy and graphic-light page, a visitor’s eye likely follows something like a Z-pattern or F-pattern across and down the page. However, as soon as you design page elements and add graphics, those patterns no longer apply. Your visitor’s eye will follow the flow, movement and rhythm you create.
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Emphasis is relative. For one element to stand out, another has to serve as the background from which the first is to stand out. Some elements need to dominate others in order for your design to display any sort of visual hierarchy. By varying the visual weight of some elements and the visual direction of others, you can establish different levels of dominance. Three levels is ideal; they’re all that most people can discern. Designing different levels of emphasis or dominance will create a visual hierarchy in your design, with more important information being more visually prominent. It will help you communicate with visitors quickly and efficiently.
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Every project starts with a briefing sent to your team. Don’t take the content for granted, and make sure you clearly understand the objectives before working out anything tangible. You can do this by including a small learning phase, based on interviews with your client and their customers. Address your learnings and observations in an involved relationship. By simply asking the right questions, you’ll learn a hell of a lot more. In this article, Thomas Joos shares his learnings after years of streamlining creative dialogue.
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