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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.
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.
Having started his career studying under some of the best typographic minds in the world, Khajag Apelian not only is a talented type and graphic designer, unsurprisingly, but also counts Disney as a client, as well as a number of local and not-for-profit organizations throughout the Middle East.
Even more impressive is Khajag’s willingness to take on work that most people would find too challenging. Designing a quality typeface is a daunting task when it’s only in the Latin alphabet. Khajag goes deeper still, having designed a Latin-Armenian dual-script typeface in four weights, named "Arek", as well as an Arabic adaptation of Typotheque’s Fedra Display.
This article is part of a new series about design principles that can serve both as a refresher for seasoned designers and reference for newcomers to the industry. Hopefully, the content covered here isn't too obvious and self-explanatory, but it's always great to have a nice quick refresher every now and again, isn't it? — Ed.
In 1910, psychologist Max Wertheimer had an insight when he observed a series of lights flashing on and off at a railroad crossing. It was similar to how the lights encircling a movie theater marquee flash on and off.
I want to let you in on a secret — writing a book is a scary experience. You pour your heart into it and then wait for the reaction when it is published. You can be certain of only one thing: You will be criticized.
My book Digital Adaptation will soon be officially released, and I know a lot of clever people are going to disagree with what I have written. They are going to argue that I focus too much on digital and its characteristics and its implications and its impact on business and on the way we work and organize teams, when ultimately digital is just a tool.
If you’re a graphic designer, you will often have to work with off-the-shelf material created by others — for instance, combining ready-to-use fonts with images from a photographer or stock website. Also, you’ll often have to follow the branding already developed by someone else.
It’s OK; it’s a part of the job, and you shouldn’t be bothered by it. But the part of a project that almost every graphic designer likes and is proud of the most is something that you can do from scratch, something that you have control over and can sign off on confidently: illustration.
Welcome to another interview in the “How I Work” series. These interviews reveal how leading thinkers and creators on the Web design, code and create. The goal is not to get into the nuances of their craft (that information exists elsewhere online), but rather to step back and learn a bit about their habits, philosophies and workflow for producing great work.
This time, we’re speaking with Andres Glusman, of Meetup, a company that uses the efficiency of the Internet to conveniently connect people offline. Andres works as the VP of Strategy, Product and Community in Meetup’s New York City office. In this piece, he shares with us how the company uses User Experience (UX), Lean Startup methods and innovative ways of organizing interdisciplinary teams to fuel the company’s consistent growth.
People don’t spend their money online easily. Think about it: If you had to answer a long list of questions or struggle to navigate a website, how much money would you be willing to part with? Online shopping is about convenience and comfort, and those of us who have at least once ventured into the realm of online shopping know how time-consuming and unpleasant it can be.
The online stores that stand out from the rest are those that go the extra mile for their users. We’ll look here at some small and big e-commerce websites that create pleasant online shopping experiences. We’ll consider the experience from the very start to the very end, right through to the checkout process.
Product findability is key to any e-commerce business — after all, if customers can’t find a product, they can’t buy it. Therefore, at Baymard Institute, we invested eight months conducting a large-scale usability research study on the product-finding experience. We set out to explore how users navigate, find and select products on e-commerce websites, using the home page and category navigation.
The one-on-one usability testing was conducted following the “think aloud” protocol, and we tested the following websites: Amazon, Best Buy, Blue Nile, Chemist Direct, Drugstore.com, eBags, GILT, GoOutdoors, H&M, IKEA, Macy’s, Newegg, Pixmania, Pottery Barn, REI, Tesco, Toys’R’Us, The Entertainer, and Zappos. The pages and design elements that we tested include the home page, category navigation, subcategories, and product lists.
In this article, we’ll take you on a thought-provoking journey through carefully selected Web designs. Certainly, these websites have some captivating interactivity; however, the selection of type and the typographic styling and spacing are the reasons why we chose them for this piece.
In the context of typography, considering composition and grid structure is also important. Composition and grid structure are vital factors in effective communication with type.
Is sketching by hand more than a nostalgic activity? How is paper any different from a screen, especially when hardware is becoming more and more sophisticated? Is improving your hand-sketching skills really worthwhile when high-tech software is advancing every day?
Everyone seems to have a strong opinion about hand-sketching these days. Some absolutely hate the thought of putting their ideas to paper because they can’t draw to save their lives. Others couldn’t imagine their creativity surviving without it. Love it or hate it, there’s much more to a sketchbook than old-school charm.