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Did you know that we publish useful books and run
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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.
Quality product descriptions can transform e-commerce conversion rates — it's common to see increases of 30-100%. As well as converting more visitors, search traffic increases drastically when unique copy is written for each product. Most online retailers use manufacturers' copy or rely solely on images to sell products. They then use inadequate copy elsewhere on their site and fail to achieve a consistent tone to persuade their audience. This creates a compelling opportunity for savvy retailers: by writing quality e-commerce copy you will create a unique competitive advantage.
Essentially, your copy must achieve two goals — establish trust and convince visitors that your product is right for them. Potential customers cannot see or touch the product since it's not physically there in front of them. This is why it’s important that your copy anticipates the needs of your visitors while convincing them that your company can be trusted to provide excellent products. Persuasion and creating trust are difficult things to do with words alone; yet, they are still achievable.
For many beginners, the task of picking fonts is a mystifying process. There seem to be endless choices — from normal, conventional-looking fonts to novelty candy cane fonts and bunny fonts — with no way of understanding the options, only never-ending lists of categories and recommendations. Selecting the right typeface is a mixture of firm rules and loose intuition, and takes years of experience to develop a feeling for. Here are five guidelines for picking and using fonts that I’ve developed in the course of using and teaching typography. [Links checked March/03/2017]
Many of my beginning students go about picking a font as though they were searching for new music to listen to: they assess the personality of each face and look for something unique and distinctive that expresses their particular aesthetic taste, perspective and personal history. This approach is problematic, because it places too much importance on individuality.
It's nearly impossible to provide an accurate quote to a prospective web design client without first gathering information about what that particular client needs. Some designers do this in either a face-to-face meeting or over the phone, but more often, they have a questionnaire that prospective clients fill out. This is preferable for a couple of reasons, but the most important is probably that this document then becomes an integral part of the design process and is available to refer back to along the way.
So the question is whether you should put that questionnaire up on your website, or only send it to prospective clients once they've contacted you. There are a couple of reasons you may want to make it available online, but the obvious one is that clients are often eager to get started with their projects and so by providing the questionnaire online, this eliminates a step in the pre-contract part of the process.
Here, we've collected questionnaires and worksheets used by actual web design companies, including some of the leaders in the industry. There are both online and downloadable forms included, as well as the pros and cons for each format.
The attention span on the Web has been decreasing ever since Google had arrived and changed the rules of the game. Now with millions of results available on any topic imaginable, the window to grab a visitor's attention has decreased significantly (in 2002, the BBC reported it is about 9 seconds). Picture yourself browsing the Web: do you go out of your way to read the text, look at all the graphics, and try to thoroughly understand what the page is about? The answer is most likely to be a straight "no." With bombardment of information from all around, we have become spoiled kids, not paying enough attention to what a Web page wants to tell us.
We make snap decisions on whether to engage with a website based on whatever we can make out in the first few (milli)seconds. The responsibility for making a good first impression lies with designers and website owners. Given that the window of opportunity to persuade a visitor is really small, most designs (probably including yours) do a sub-optimal job because the designer in you thinks in terms of aesthetics. However, most websites do not exist just to impress visitors. Most websites exist to make a sale. Whether it is to get visitors to subscribe to the blog feed, or to download a trial, every website ultimately exists to make a sale of some kind.
Web typography has evolved a lot over the last years. Today we see rich, accessible typography, a plethora of type design choices for the web and a number of remarkable, type-based web designs. It's a great time for web design, and it's a great time for web typography. Still, being as excited as we are, we should not forget about the foundational principles of good type design on the web and use them properly within our projects. Great choice is good, but, most importantly, we should be making meaningful typographic choices in our designs.
In this post we present an extensive overview of educational resources, tools, articles, techniques and showcases all related to web typography. Please notice that the overview presents resources which we have stumbled upon, discovered, collected and reviewed over the last six months. This round-up is quite long, so save some time for a thorough study.
Creating great typeface combinations is an art, not a science. Indeed, the beauty of typography has no borders. While there are no absolute rules to follow, it is crucial that you understand and apply some best practices when combining fonts in a design. When used with diligence and attention, these principles will always yield suitable results. Today we will take a close look at some the best practices for combining typefaces — as well as some blunders to avoid. [Links checked March/02/2017]
By far the most popular principle for creating typeface combinations is to pair a sans serif header typeface with a serif body typeface. This is a classic combination, and it's almost impossible to get wrong.
In the examples above — a typical article layout — we have Trade Gothic Bold No.2 paired with Bell Gothic on the left side. They are both sans serif typefaces. However, they have very different personalities. A good rule of thumb, when it comes to header and body copy design problems, is not to create undue attention to the personality of each font. Trade Gothic is arguably a no-nonsense typeface. Bell Gothic, on the other hand, is much more dynamic and outspoken.
We continue to collect most beautiful high quality freefonts, which can be used for both private and professional projects without any restrictions whatsoever. They are hard to find, but the search is definitely worth it.
Good design speaks for itself, right? Unfortunately, that is rarely the case. Most of us don’t have the privilege of designing for ourselves; we design for clients, clients who have their own taste and ideas, clients who ultimately need to be persuaded on why we’ve made certain decisions. Good design doesn’t speak for itself; it needs an advocate.
This article examines both why design requires justification and how you can go about providing it in a way that is clear and understandable. While we'll focus on visual design, the principles described here are applicable to any creative process or endeavor. Indeed, we learned most of these lessons while presenting Web interfaces and prototypes to clients, which took place after the visual designs had been agreed on.
We invest time, money and effort into understanding our audience, and the movement toward a more socially networked Web has made us realize the power that visitors have over how our designs are engineered; and we try to meet their ever-growing needs. Community is integral to the evolution and functioning of a website, and visitors and website owners have become dependent on each other. This reflects a change in the industry: the user has turned into an anonymous designer.
This article will explore the influential figure 'user' and uncover the power of your community. Whether you boast social applications, interactivity or a stream of regular visitors, your audience might be a powerful untapped resource at your fingertips. You, the website owner, have the power to make decisions and override them (for better or worse), but the user deserves to be recognized as more than a statistic.
Have you ever thought of what makes you remember a certain movie or TV show? Of course, it's the story being told, you’ll say. But what about movies such as Goldfinger, Seven and Snatch? What’s the first thing that comes to mind? We are pretty sure their opening title sequences stick out for many of you.
Today we’ll take a closer look at that short space of time between the moment the lights go down and the first scene of a film, the part that so often sets our expectations of a movie, that sequence that speaks to our creative side: the art of the film title. We'll look at the evolution of title design and some particularly interesting titles from various periods in the history of cinema and animation.
Film titles can be great fun. In them we see the bond between the art of filmmaking and graphic design — and perhaps visual culture as a whole. They have always served a greater purpose than themselves: to move the overarching story forward. Whether you are a motion graphic designer, a digital artist or a connoisseur of design, we hope you are inspired by these film titles and the ideas they suggest to your own creative endeavors. At the end of this post, you'll find a listing of relevant typefaces and Web resources.
Last month the first International Conference on Green Computing took place. The conference agenda included a broad range of topics but, in essence, was eagerly addressing issues surrounding the carbon footprint of computing and how computers can contribute to the well being of our world. So what better time to raise a few questions about green web design. What is our role in contributing to a greener computing world?
We are, after all, steering the Internet towards being a safe storage of every kind of data. Every now and again it is good to step back and look at where we fit into this bigger picture of a green computing world. We as web designers and developers are the lead architects of the Web. We are the ones carrying the main blocks and putting them in place. Layering and cementing the blocks of information together. Brick by brick. The new Rome!
But who is actually making sure the outer walls of our construction run true? Do we have our eyes on the bigger picture? Are our processes as eco-friendly as they could be / should be? And this is not just about optimization for speed of delivery. Are we true to ourselves in considering the energy efficiency of our web constructions, or are we more concerned for aesthetics? Are these relevant questions for a web designer?
Studying art and design usually starts with a deep exploration of elements and principles. Among these elements, the most basic ones — line, point and plane — usually figure in a work of art or design. Thus, we can abstract art and design compositions to lines, points and planes when analyzing them. Not only is this abstraction useful for understanding the structure of a composition, but it also offers new sources of layout inspiration and experimentation.
According to Wucius Wong in his book Principles of Form and Design (page 42), point, line and plane can be considered conceptual design elements because, although they are not always explicit or visible, they seem to be present by implication. He explains how an angle, for example, implies the existence of a point and how lines, by marking the contour of an object, imply the presence of a plane.