Designing a good logo is the utmost in creative problem-solving. The process makes you really think succinctly about how relationships work. The practice of logo design develops your skills of intuition to recognize obscure but effective solutions and teaches you to discover connections that aren’t apparent on the surface. Adding a universal quality to a logo provides the broadest communicative reach, what almost all identities are intended to accomplish. This three-part series explores fundamental creative strategies for designing effective logos. The first part shows how to use symbols, metaphors and the power of intuition.
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Compositional flow determines how the eye is led through a design: where it looks first, where it looks next, where the eye pauses, and how long it stays. You have a lot of control over where people look when they’re viewing a webpage you’ve designed. On a text-heavy and graphic-light page, a visitor’s eye likely follows something like a Z-pattern or F-pattern across and down the page. However, as soon as you design page elements and add graphics, those patterns no longer apply. Your visitor’s eye will follow the flow, movement and rhythm you create.
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Emphasis is relative. For one element to stand out, another has to serve as the background from which the first is to stand out. Some elements need to dominate others in order for your design to display any sort of visual hierarchy. By varying the visual weight of some elements and the visual direction of others, you can establish different levels of dominance. Three levels is ideal; they’re all that most people can discern. Designing different levels of emphasis or dominance will create a visual hierarchy in your design, with more important information being more visually prominent. It will help you communicate with visitors quickly and efficiently.
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Throughout his 70-year career, Frank Lloyd Wright developed a number of principles and ideals that can inspire us to design digital experiences that better stand the test of time. His views on materials, form, function, space and environment define his iconic works. These ideals and principles are still used in architecture today, and his buildings have stood the test of time, remaining relevant even in today’s digital age. In this article, Kent Eisenhuth will cover six main aspects of Wright’s approach that you can apply to digital design. His effort to create a “new” architecture can inspire us to rethink the way we approach our digital design work and even push the medium into new and exciting territories.
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Visual direction is the perceived direction of forces acting on and exerted by elements. A visually heavy element will attract the eye to it. The direction is a cue to the viewer’s eye to move elsewhere. We refer to this force as visual weight and to the perceived direction of visual forces as visual direction. Both are important concepts to understand if you want to create hierarchy, flow, rhythm and balance in your composition. Many intrinsic characteristics can be modified to make an element visually weightier or lighter.
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Compared to what we can create on the computer today, the original Macintosh, with only 128 KB of memory, had limited capabilities. At the time, though, it opened up so many new possibilities. Emerging digital technology also changed typography. Some digital typefaces were updated versions of classics, while others were brand new, and there was a refreshing jolt of youthful experimentation as people moved past the limits of the rational and functional. Each of the following designers broke from tradition and changed the world of design in some way. Those who designed not only on the screen, but for the screen, ushered in a new era of digital design, mixing media and incorporating motion, sound and interactivity. Below are a few of those pioneers.
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At Typeform, David Okuniev was inspired to simplify online forms by a movie that’s decidedly a blast from the past: the 1983 film WarGames, which centers around a student who remotely logs into a research computer and, through its terminal interface, nearly sparks a nuclear war. Stripping forms down to their basics and building them back up into something better took four years of work, but that core idea guided the team all along: questions are better than lists. In this article you will find David Okuniev’s story of how he turned that idea into a product that’s helped companies of all sizes get a 55% completion rate on their forms.
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Showing that some things are the same and some are different is the first step in visual communication. It’s the primary way that viewers derive meaning. Contrast and similarity have different functions. They are used in varying degree and in combination. You’ll always see some of both because neither exists without the other. Changing one means also changing the other. They are clues to design elements. The goal is to contrast similar layers. The way we structure contrasting and similar elements creates hierarchy, flow and compositional balance.
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Interface designers use affordances all the time. They have to. Unlike physical objects, web and mobile interfaces must gain all of their affordance through design. For most designers, this is intuitive and instinctive, based on the thousands of design patterns we see every day. But have you ever thought about the qualities that make an object afford clicking, sliding, pulling or pushing? By deeply understanding how affordance works, you’ll better master interface or product design. Better affordance can have a dramatic impact on conversion rates, registration rates and the user actions that matter most to the website, app or product you’re designing for. This is why “affordance” is the most underrated word in web design.
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Some of us were born with this feeling of what feels and looks right. But other people also have a gift of aesthetic feeling, a gift to recognize beauty. Ordinary users, then, just like designers, recognize beauty and know what’s right and not right. This is not where the problem of handing over creative control arises. The problem is that they don’t know the principles that designers do. But there is a way. We can guide users simply by limiting their creative control, which also makes for a simpler tool.
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