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Smashing Book 5 features smart responsive design techniques and patterns.
Marko Dugonjić is a designer from Velika Gorica, Croatia. As the creative and user experience director at Creative Nights, he improves customers’ digital experience for local and international clients and occasionally speaks at international web design conferences. He founded FFWD.PRO, a micro-conference and workshops for internet professionals in Croatia and his favorite pet project is Typetester, a popular online tool for testing screen fonts.
Having the ability to set legible body copy is an absolute must, and we’ve come a long way with web typography since the dawn of web design. However, I feel like we have allowed the lack of variety prior to the rise of web fonts to dampen our creativity now that thousands of web fonts are at our disposal. Have usability conventions and the web’s universality steered us away from proper art direction? Have we forgotten about art direction altogether? I believe so.
As designers, we can achieve much more with type, and with just a little more thought and creativity, we can finally start to take full advantage of the type systems available. Let’s look at ways we can push typographic design on the web further, beyond the status quo of today.
What is "User Experience Design" exactly? Should you not start it unless you are fully dedicated, or should you embrace it in the process as soon as possible? Are all designers also user experience designers, or is it a separate expertise?
The debate is as old as the discipline itself, and while picking up a bucket of popcorn, sitting back and watching the drama is sometimes fun, let’s try to figure out which user experience techniques are useful for startups, in-house teams, big corporations and anyone who wants to improve their website, product or service.
With the rise of web fonts as well as affordable hosted web font services and ready-made kits, typography is reclaiming its title as design queen, ruler of all graphic and web design. At the same time, for far too many designers, the main concern about typography today seems to be aesthetic in nature.
The problem is, we tend to use typography and lettering as two interchangeable terms, which they are not. The allure of well-executed lettering — and, boy, I could spend hours just looking at lettering portfolios! — can affect the way we view typefaces, because both typography and lettering share common visual concepts.