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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.
Similarity and contrast, connection and separation, grouped and ungrouped are all ways to describe the varying sameness and difference between elements. Based on the information they carry, we’ll want some elements to look similar, to indicate that they are related in some way. We’ll also want to show that some elements are different and belong to different groups.
Key to showing both is the visual characteristics of elements and their relationships. If two elements are related in some way, then they should show similar visual characteristics. If the elements are different, then they should look different.
To badge or not to badge? That is the question. Because badges — and a lot of stuff designed for conferences — often look the same. But if you have a little, different conference, you need different kinds of things. Badges included.
It all started in 2013 with the first Kerning conference. I was asked to design the official notebook: we ended up with a really typographic design for the cover and a funny pattern on the back. And an Easter egg on the cover — more on that later. It was a really funny project, so when my dear friend Cristiano Rastelli, a member of Kerning’s organizing committee, asked me to design the notebook and some printed materials for Kerning 2014 I immediately said “Yes, let’s start!”
Many modern software development best practices draw on influences from the industrial era and concepts like specialization, where individuals with specialized skills worked in an assembly line to mass-produce physical products. These practices from the world of manufacturing have come to influence how things are done when designing and building software products as well.
Lean thinking is one of the latest approaches software development companies have adopted to maximize value and reduce wasted effort and resources. It does so by breaking down an objective into a series of experiments. Each experiment starts with a hypothesis that is tested and validated. The output of each experiment informs the future direction. This is similar to the idea of “sprints” in the agile world, where the overall product roadmap is divided into smaller and meaningful bodies of work.
This article is the first part of a series of articles on emerging responsive design tools. Today, Richard Knight explores the advantages of Webflow and how you can use it today to build responsive websites — perhaps a bit faster than you would build them otherwise. – Ed.
New tools have emerged to address the challenges of responsive web design — tools such as Adobe Reflow and the recently released Macaw. Today, we’ll look at one that I have tested extensively in the last few months. Though not perfect, it’s been a leap forward in productivity for the team that I work with. Its name is Webflow, and it could be the solution to the problems you face with static design comps produced in Photoshop and Fireworks.
This article will take you step by step through the process of creating a responsive website layout for a real project. As we go along, we’ll also identify Webflow’s advantages and where it comes up short.
This is the second and final article on how to sell and profit from digital products. In part 1, we covered many of the benefits of digital products over physical goods as well as the marketing philosophies to help you build an audience for your products. Today, we will be discussing more of the tactics required for a successful digital product business. There's also a dark side to this world, which we'll get into towards the end. Let's jump in.
Remember how one of the best things about digital products is that you don’t have to ship anything? Your profit margins are much higher, and fulfilling orders is so much easier! You still have to deliver the product to the customer, but e-commerce software will do that for you, so you don’t have to be involved at all.
A/B testing, also known as split testing, is the method of pitting two versions of a landing page against each other in a battle of conversion. You test to see which version does a better job of leading visitors to one of your goals, like signing up or subscribing to a newsletter. You can test two entirely different designs for a landing page or you can test small tweaks, like changes to a few words in your copy.
Running A/B tests on your website can help you improve your communication with visitors and back up important design decisions with real data from real users. With the multitude of tools available (detailed later), split testing has become easy for even non-technical people to design and manage.
At the end of 2012, I was talking with a good friend of mine who runs a small custom woodworking company. We were discussing business over the last year and a few things we learned. While his business did about double the revenue that mine did in 2012, I made considerably more profit.
That’s when it sank in how unusual my business really is: Instead of having a 10 to 20% profit margin like many businesses, I had an 85% profit margin in 2012. That actually could have been much higher, except that I spent some money on equipment (I needed that 27-inch display) and hiring freelancers. After creating each product, I have only 5% in hard costs for each sale. And the product can be sold an unlimited number of times.
If you see graphic design as a process of arranging shapes on a canvas, then you’re only seeing half of what you work with. The negative space of the canvas is just as important as the positive elements that we place on the canvas.
Design is an arrangement of both shapes and space. To work more effectively with space, you must first become aware of it and learn to see it — learn to see the shapes that space forms and how space communicates. This is second part of a series on design principles for beginners. The first part covered an introduction to gestalt; the rest of the series (including this post) will build on those gestalt principles and show how many of the fundamental principles we work with as designers have their origin there.
The BBC’s Programmes website is huge, and is intended to be a rolling archive of everything that the BBC broadcasts on television and radio. Originally released in 2007, it now has pages for over 1.6 million episodes, but that’s barely half of the story. Surrounding those episodes is a wealth of content, including clips, galleries, episode guides, character profiles and much more, plus Programme’s newly responsive home pages.
The new responsive home pages, known as “brand” pages, join the schedule and A–Z lists in a broader responsive rebuild. 39% of users (and growing) now use mobile and tablet devices to visit these pages; so, making the pages responsive was the best way to serve a great experience to everybody while keeping the website maintainable.