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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.
What's your responsive design process like? Do you feel that it's efficient? The following article is an excerpt from Ben Callahan’s chapter “Responsive Process,” first published in the Smashing Book 5 (table of contents). We've collected some useful techniques and practices from real-life responsive projects in the book — and you can get your hard copy or grab the eBook today. You will not be disappointed, you know. —Ed.
“The successful respondent to this RFP will provide three static design options for our team to evaluate.” I’ve never been a huge fan of taking a multi-option design approach, but I get it — sometimes a client needs this. “Each of these options will provide design for three unique layouts: home page, listing page, detail page.” All right. Now, we’re up to nine static design files. This is getting a bit out of hand.
As digital technologies are implanted deeper in the world, making more and more aspects of life intangible, it’s hard to imagine the world without any kind of banknotes, or paper money. In the dramatic history of our world, money became not just generic objects of payment, but also symbols of societies.
Combining utility and exclusivity, money is one of the challenging objects to design. And as with any complex task, currency design holds some valuable lessons for us, web designers. This article is an attempt to formulate some of these lessons and, therefore, draw your attention to the inspirational nature of paper money.
A company proves that it has a strong creative process by developing successful products repeatedly. We see this in companies like Apple, BMW and Google. Founders such as Steve Jobs formed a corporate culture with an intense focus on creativity and design. This culture highlights two core elements in the creative process: the ideas and the team.
The creative process can be described in one sentence: Ideas begin with a small team of creative people at the heart of the company who communicate easily with each other.
The word anticipatory comes from the Latin anticipare, which means "taking care of ahead of time." We normally associate it with something that happens, is performed or felt in anticipation of something.
In a way, most products contain at least one element of anticipation. Aaron Shapiro from HUGE defined anticipatory design as a method where it’s up to the designer to simplify processes as much as possible for users, minimizing difficulty by making decisions on their behalf.
The responsive design revolution is truly upon us (if it hasn’t already happened!), and even though e-commerce websites haven’t picked up responsive design quite as aggressively as in other industries, it’s becoming increasingly popular.
So far, most of the responsive design thinking has revolved around covering the range of experiences from mobile to desktop. Yet little attention has been paid to the opportunities for expanding that range beyond the standard desktop screen, to create an experience optimized for modern large-scale displays.
Last year I read Jan Constantin’s post “Typographic Design Patterns and Current Practices” and straightaway wanted to do something similar with email. At the time I was studying responsive typography on the web, trying to break down the websites I liked in order to understand what made the typography work so well, then attempting to apply those findings to email design.
After seeing Constantin’s work, I also wanted to explore how other email designers were handling responsive typography. So, I amassed 50 emails across various industries that I think do a good job with typography to see if any patterns emerged. You can skip straight to the Google Doc showing the raw data and results.
CSS floats and clears define web layout today. Based on principles derived from centuries of print design, they’ve worked well enough — even if, strictly speaking, floats weren’t meant for that purpose. Neither were tables, but that didn’t stop us in the 1990s.
Nevertheless, the future of web layout is bright, thanks to flexbox. The CSS layout mechanism lets us arrange elements in a truly web-like way. Some elements can be fixed, while others scroll. The order in which they appear can be independent of the source order. And everything can fit a range of screen sizes, from widescreen TVs to smartphones — and even devices as yet unimagined. Browser support is fantastic (except you-know-who). Yep, it’s a great time to jump into flexbox if you haven't done so yet.
Has web design lost its soul? And is responsive design to blame? These questions, posed by my friend and colleague Noah Stokes, are provocative to say the least. After all, the responsive web has made browsing on our ever increasing collection of Internet-connected screens not only possible, but enjoyable.
Our priority as designers must be to solve problems; perhaps more than anything else, this is what we do. Responsive web design is a fantastic solution to the problem of creating virtual experiences that adapt to different devices. There are other problems out there that we're called on to solve, though, not least of which is to make content of all kinds appear interesting and engaging. A page of plain text becomes a beautiful blog post, a mess of unconnected JPGs becomes a professional portfolio.
A balanced composition feels right. It feels stable and aesthetically pleasing. While some of its elements might be focal points and attract your eye, no one area of the composition draws your eye so much that you can’t see the other areas.
Balancing a composition involves arranging both positive elements and negative space in such a way that no one area of the design overpowers other areas. Everything works together and fits together in a seamless whole. The individual parts contribute to their sum but don’t try to become the sum.