This category features articles on general design principles, Web design, typography, user interface design and related topics. It also presents design showcases and practical pieces on the business side of design. Curated by Alma Hoffmann.
This article again deals with terminology, probably more specifically than most designers are used to, and the title gets to the heart of what I’m communicating in this article. Everyone knows their serifs and sans, slabs and scripts, but most classifications go much deeper than that.
As Web designers and developers, we see the value in supporting mobile devices every day. We’re well-versed in tactics and techniques for adapting our work to mobile. Our challenge is to be equally well-versed in selling our clients on that value as being something in which they need to invest precious budget dollars.
I’ve been describing what I call the “mobile imperative” for a few years now when talking to clients or advocating support for mobile devices in Web design projects. The mobile user experience is not an add-on. It’s now a major part of the Web as we know it, and our clients’ content and tools will appear on an increasing number of devices, screens and contexts.
For most websites, navigation is not particularly challenging. A primary navigation bar, supported by sub-navigation, is often enough. Typically, sub-navigation displays the parent, siblings and children of the current page.
A persistent primary navigation bar shows top-level pages, allowing users to move between sections. However, there is one class of website for which this traditional form of navigation falls short. It is what I refer to as a "mega-site".
Comics are known to be one of the most powerful communication tools, and are a unique way to communicate — using both image and text to effectively demonstrate time, function, and emotion.
Today's article is an excerpt from Kevin Cheng's "See What I Mean" — a book that walks you step by step through the process of using comics to communicate, and providing examples from industry leaders who have already adopted this method. Enjoy!
A record number of shoppers are turning to their smartphones to research potential purchases. Meanwhile, the bigger question — are those same users willing to complete the purchases on their mobile device? — is quickly being answered.
The US, for example, saw an 81% spike in mobile e-commerce (m-commerce) sales in 2012, comprising a $25 billion market. And it’s not just apps. By a landslide, users prefer mobile websites to apps for shopping.
Responsive Web design has been evolving rapidly ever since Ethan Marcotte coined the term two years ago. Since then, techniques have emerged, become best practices and formed part of our ever-changing methodology.
A few obvious examples are the multitude of responsive image techniques, conditional loading, and responsive design and server-side components (RESS), among many other existing and emerging strands stemming from the core concept of responsive Web design.
Hundreds of tools may be available for interaction designers, but there is still no industry standard for interaction design the way Photoshop and Illustrator are to graphic design. Popular programs are out there, but many of them have considerable drawbacks, which has led me to explore alternative apps.
I eventually chose Adobe InDesign for much of my preliminary interaction design work. Yes, you read that correctly: InDesign, a desktop publishing app originally created for designing books and magazines, is currently my tool of choice for designing low- to medium-fidelity wireframes and interactive prototypes.