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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.
Endless layers in Photoshop. Overstuffed image folders. That jQuery plug-in that has 12 files associated with it. Hundreds or thousands of individual pieces go into making a website. No wonder we go off the deep end when we can’t find a closing div — er, section tag.
We work with a ridiculously large number of things, and how we organize them (or choose not to) is often left to personal preference. But our messy habits result in confusion for the designer or developer who inherits your work. Does it really need to be this way?
Recently, a couple of things happened in my design career that have made me sit down and reflect a bit on where I’m at and how I can improve what I deliver to my clients and their users. I’d noticed that my source of inspiration had changed and that I was being inspired more by clever solutions and ideas than by visual flourish.
Like many designers, my RSS feed of inspirational websites is full of great work and posts. I’m also active on Twitter, and I meet up with other designers regularly at local events. But I find that at a basic level, I actually don’t draw that much inspiration directly from these things anymore.
An understanding of typographic etiquette separates the master designers from the novices. A well-trained designer can tell within moments of viewing a design whether its creator knows how to work with typography. Typographic details aren’t just inside jokes among designers. They have been built up from thousands of years of written language, and applying them holds in place long-established principles that enable typography to communicate with efficiency and beauty.
Handling these typographic details on the Web brings new challenges and restrictions that need to be considered. Below are a few rules of thumb that will have you using typography more lucidly than ever before.
Just how we are constantly trying to fit in with a certain crowd or to be seen in a certain way by our peers in real life, we are doing the same in our digital lives. And by digital lives I mean our social media profiles. If you come to think about it, our online profiles are a lot more than just an extension to our real lives.
I truly believe that in the online world, we are given a lot more freedom to be our true selves as opposed to in ‘the real world’. In the same way many people find it easier to ‘text’ bad news rather than to share it via phone or in person, social media allows us to be the person we want to be without having to face the immediate physiological reactions from others.
Mention Jamaican music to someone who isn’t a fan and you can bet that a fairly predictable image pops into the head of your listener. Chances are this image looks something like the cover of Bim Sherman’s Exploitation. Same old Rastafarian colors… Some guy with dreads… A title that refers broadly to political oppression or positive thinking without much in the way of self-critical awareness or irony.
For many people, this vision — of roots reggae and its deified lead singer — is the only face that Jamaican music has to offer. (To be honest, the Jamaican music industry, in its eagerness to capitalize on the popularity of this face, hasn’t done much to contradict it.)
Games are becoming more Web-like, and the Web is becoming more game-like. If you need proof of this, you have only to look at Yahoo Answers. Random questions are posed, the top answer is chosen, and credibility points are given to the winner. It's a ranking system that accumulates and unlocks more and more features within the system. It works because of the psychology of achievement and game mechanics and thus encourages interaction.
This raises the question, what can a Web designer learn from games, or — more specifically — video games? Good game interfaces have to be highly usable and intuitive, capable of handling a lot of repetitive actions in the fewest clicks possible. They need to be attractive and engaging. They need to be likeable. A good game interface adds to and enhances the user’s experience. In a game, people want the content delivered to them in a way that doesn’t break the fantasy. Any dissonance with the interface will cause an otherwise great game to fail.
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Art critic Emilie Trice has called Berlin “the graffiti Mecca of the urban art world.” While few people would argue with her, the Berlin street scene is not as radical as her statement suggests. Street art in Berlin is a big industry. It’s not exactly legal, but the city’s title of UNESCO’s City of Design has kept local authorities from doing much to change what observers call the most “bombed” city in Europe. From the authorities’ point of view, the graffiti attracts tourists, and the tourists bring money to a city deep in debt.
This article looks at the development of the Berlin street art scene, from its beginnings as a minor West Berlin movement in the late ’70s to its current status: the heritage of a now unified city.
Since the early days of communication, humanity has been captivated by the methods it uses to convey and preserve information. How we communicate with each other defines who we are and constitutes so much of what makes a culture and an individual unique.
Over the centuries, we have seen media evolve across a wide array of channels, from print to radio to television to the Internet. Each one of these channels, or media, has its own unique characteristics, much like the people who use them.