We use ad-blockers as well, you know. We gotta keep those servers running though. Did you know that we publish useful books and run friendly conferences — crafted for pros like yourself? E.g. upcoming SmashingConf Barcelona, dedicated to smart front-end techniques and design patterns.
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.
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".
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.
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.
There are several tactics for deciding where to put breakpoints in a responsive design. There is the rusty idea that they should be based on common screen sizes, but this doesn’t scale well. There are no “common” screen sizes. Another popular tactic is to create a breakpoint wherever the layout breaks.
This sounds much better. But it still leaves us with the question, How do you determine whether the layout is broken? One logical answer is to look at classic readability theory and to define our breakpoints based on that.
Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access.
Careful control of visual hierarchy is a key aspect of the design decisions we have to consider. In this article, we will look at how frequently type needs to be broken down into different levels, such as topic, importance and tone of voice.
There’s no avoiding those Angry Birds. They are, quite literally, everywhere: toys, snacks, cartoons, plush toys and that wildly addictive game that seemingly everyone has downloaded at some point — 1 billion of us last year alone.
2012 was another landmark year at the Angry Birds aviary, otherwise known as Rovio. The Finnish-based developer not only released a slew of tie-ins — from Green Day to Star Wars — but also went social.
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.
When I think about where we are with the Web in comparison to other media in history, pinpointing it is really hard. Is it like when the Gutenberg Press was just invented and we’re experimenting with movable type, or are we still embellishing pages and slavishly copying books by hand?
Our knowledge of building digital things changes rapidly, taking us from newborn to adult and back again every couple of years. It’s both exciting and frustrating, because just when you think you have it all figured out, it completely changes. But if you’re like me, learning something new keeps things interesting.