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Archive for September, 2014

Refreshing Like September Rain: 20+ Free HTML/CSS, PSD and GUI Templates for Trendy Designs

September 24th, 2014 No comments

Autumn is approaching. While I write this, the world around me seems about to drown. Rain is hammering against my window. Face it, it’s September 2014. And while it’s not always a good thing to see nice seasons leave and nasty seasons come, there is one upside of time flying by and this is the availability of the next stack of templates from our monthly series. Once again we have come up with our picks of the month, showing new interfaces and templates for all your web and mobile projects. As always, this roundup is divided into three sections for HTML templates, PSD templates and Graphic User Interfaces. Go ahead and see what we dug up for you. My personal favorite is “Lonely”, a Bootstrap-based photography theme. What is yours?

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Applying Participatory Design To Mobile Testing

September 24th, 2014 No comments
The timeline given to participants in the car shopping study.

People use their mobile devices everywhere: on the train, while waiting in line, sitting on the couch. As much as we aim to design our mobile apps and websites for contextual use, testing their usability in context can be challenging.

While getting out in the field for user testing is not always realistic, simulating much of that contextual experience in a lab is possible. One approach to mobile testing is participatory design.

A participatory design test session typically takes about an hour and has four parts:

  1. Uncover the user’s mental model.
  2. Enable the user to document their entire experience.
  3. Have the user sketch their ideal experience.
  4. Ask for the user’s feedback on designs from previous sessions.

I’ve conducted this type of study while researching how visitors to Cars.com’s app use their mobile device while purchasing a car on a dealer’s lot. The artifacts from this study are included in the steps below.

1. Immersed And Aware

A usability test typically starts with warm-up questions. A participatory design session is no different, although the questions are a lot more in-depth. This portion is meant to uncover the participants’ actual usage of your app or website and any pain points they experience.

The goal is to bring awareness to the participant and to put them in the context of how they would be using the product. Start broadly and then narrow the focus. You might want to break down questions into the following categories:

  • When do they use the app or website? Is it when a need arises? Is it based on timing?
  • Where are they typically during the usage? Is it location-based?
  • How long do they use the product in one session?
  • What tasks do they usually accomplish in one session?
  • How satisfied are they overall with their interaction with the product, and how would they rate the product and how well it enables them to accomplish what they need?

For example, we first asked participants general questions about the duration of their car search and about other cars they’ve test-driven. We then focused on their visit to the dealership to purchase a car. They were asked to assess their satisfaction with the process, as well as their mobile usage. The purpose of the interview here is to place the participant in the right mental context. It also helps the moderator to create awareness of the steps that follow.

2. Document And Express

Once the stage is set and the participant is immersed in the context, the next step is to chart a timeline of their entire journey with the product. This exercise is particularly helpful if it encompasses not just when the participant used the app or website, but the actual goal they were trying to accomplish when using this product as a tool. For example, if the goal was to book a flight on an app, then the timeline would begin with the need to book a flight and would end with the completed transaction.

Here are the items you might need for this portion of the session:

  • a timeline drawn on paper and marked with a beginning and an end,
  • a pen,
  • stickers in two or more colors.

Draw boundaries on the timeline to mark the beginning and end for the user. In the car shopping study, the timeline initially looked like this:

The timeline given to participants in the car shopping study.

Participants then filled in the steps. This process enabled us to see patterns across all dealership visits, and it triggered the participants’ recollection of details that might have been forgotten with oral recounting.

Once the user has drawn out the timeline, use colored stickers to overlay emotions. The simplest approach is to use two colors, one for negative emotions and one for positive. However, you could get more granular and have participants indicate particular emotions. This enables them to indicate any frustration they felt during the process and at what point the app fell short of solving their problems. Capturing emotion in this way gives you a quantitative measure of a qualitative aspect of the user’s interaction with your product.

After multiple sessions, place the participants’ timelines side by side. The patterns that emerge will tell a story of how people are using the product, where their pain points are and what’s working well. To synthesize the results, create an aggregate timeline based on the number of responses and the frequency of repeated emotions.

Here is the aggregate timeline from the car shopping study:

Aggregate timeline from car shopping study.
Aggregate timeline from car shopping study.

All users followed a similar progression from the time they entered the dealership to the time they drove off the lot in their new car. They also felt similar frustrations during the negotiating and financing phases. The third color in the timeline, yellow, indicates their mobile usage on the car lot. This was helpful because the exercise shows not only when they used their phone as an aid to buying a car, but also when they would have liked to have used their phone to relieve a frustration. Such an exercise is also useful in planning future features.

3. Create Aspiration

After the timeline exercise, the participant is as in-context as they’re going to be in a lab. They have now recalled not only what they did, but how they felt while doing it. Now, have them create a design or feature that they would have liked to have had to solve the problems that arose in either part 1 or 2.

For this portion, have the following items on hand:

  • blank sheet of paper with a phone outline;
  • writing and drawing utensils;
  • cutouts of certain features you’re considering (even if they’re just portions of wireframes);
  • stencils, such as form buttons and icons;
  • tape and scissors.

This exercise is great for discovering new approaches to a design or new features. As with the timeline, draw boundaries. By cutting out certain features, stencils or shapes, you are giving the participant a starting point. The design at the end of this portion could be a mixture of features that are hand-drawn and taped onto the page.

If the participant has trouble getting started, revisit the timeline from part 2 and have them list a set of features they would have liked to have had. Use this list as a springboard to focus on one feature in particular. If the participant still hesitates to sketch anything, have them work with materials you provide. Using the cutouts of possible features, they can prioritize which features they’d like by taping them to the blank sheet of paper with a phone outline. An alternative is to have them simply write a list. In the car shopping study, several participants who had trouble getting started were prompted to write a list of features they would have liked and then to rank that list in order of priority or interest.

Synthesize the output from this exercise in the same way you did for the timeline in part 2. If most participants used stencils or cutouts to depict possible features, place them side by side to pick out patterns.

Here is what the synthesis of the cutouts looked like after the car shopping study:

Synthesized results from participatory design session.
Synthesized results from participatory design session.

4. Provide Feedback

This last step is a good way to wrap up the session. If you are already considering certain designs, have participants provide feedback on them. By this step, the participant will have essentially become your co-designer. You could also show them designs from previous sessions to get an unbiased perspective. In the car shopping study, we sought the opinions of participants on various designs we were considering. We also asked what they thought of various aspects of the test, so that we could refine our methodology.

Conclusion

When we design new features, we usually get our information in one of two ways. One common way is to fall back on broad assumptions about our users or to rely heavily on large-scale research. The other way is to design a feature and then test it in a very specific setting. Participatory design bridges the gap between the two ways, and it provides context that’s typically absent in a usability lab. This approach accomplishes several things:

  • It enables us to uncover the user’s mental model.
  • It establishes how the user would interact with the feature in context.
  • It gives the user an opportunity to provide feedback on what features would be useful to them.
  • It allows participants to flex their creative muscles and to be a co-designer on a product they’ve used before.
  • And it gives you a fresh point of view.

(al, ml)

The post Applying Participatory Design To Mobile Testing appeared first on Smashing Magazine.

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End of Shirking: 20 Free WordPress Themes Fresh from September 2014

September 23rd, 2014 No comments

In between summer and fall, one can easily get surprised while wearing a t-shirt outside. I chuckled quite a few times already. It is then when I like my office most. Sitting in front of the computer with its warm glow, working on WordPress projects harder than ever – well, at least harder than ever since the middle of spring. WordPress is just that kind of a convenient CMS that can get you up and running in no time. Probably that way I can catch up with all the work I have been negligent of. Wait, would I not be quicker if I took a ready-made theme to accelerate things? Lucky me, as Noupe continues with their monthly series of the freshest WordPress themes for self-hosted sites.

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MotoPress Content Editor for WordPress: The Winners

September 23rd, 2014 No comments

Last week we started a giveaway together with our friends over at MotoPress. You had the chance to win a 384 dollar value of licenses of their visual content editor plugin for WordPress. As promised we asked our magic fairy to conjure up the winners. And here are the results. The lucky ones are:

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Designing A Rocket Icon In Adobe Fireworks

September 23rd, 2014 No comments
Download the layered Fireworks PNG file [Rocket-Icon-Design.fw.png]

Many people know that Fireworks is a great tool for web design1, prototyping2 and UI design3. But what about icon design? Icon design is a very specific skill that overlaps illustration, screen design and, of course, visual design. An icon designer needs to understand lighting, proportions and, most importantly, the context of the icon itself.

The BBC published an interesting article about icon design and skeuomorphism4 one year ago, titled “What Is Skeuomorphism?5” It’s definitely worth reading because it explains why icons often reflect the real world and the thinking behind it.

Another pretty interesting read is “What We Can Learn From Early Icon Design?6” It is a quick retrospective of icon design and mentions, among other things, one of the most famous icon designers ever, Susan Kare7.

I remember reading an article a few years ago that definitely influenced my career as a designer. Some points in the article were obvious, but they made me think about icons in a different way. Sometimes, the best way to learn is from mistakes you make or from mistakes that people more experienced than you have made. “10 Mistakes in Icon Design8” is a good read and a useful resource for anyone who wants to learn more about icons and icon design. It is relatively old, dating back to 2008, but some of the examples are still pretty sound. The article stresses the importance of consistency in an icon set and how composition works (i.e. how many elements to use in an icon), and it gives important tips on dealing with metaphors, with practical examples. This is key in our job.

Is the icon you are designing going to be used on the web? Perhaps in a mobile app? In a toolbar? Somewhere else? These are the questions that icon designers must asks themselves before starting work on a project. The answer will affect the icon’s details, reflections, shadows, background and many other features.

1. Fireworks And Icon Design

Why Fireworks?

I have been using Fireworks now for nine long years, creating work that ranges from web design to complex UI design and, in the last few years, icon design as well. Fireworks has proved to be excellent software for all of these tasks because it combines powerful vector and bitmap editing tools.

I am not going to revisit the long-running debate9 about what is the best tool for UI design (which usually comes down to Photoshop and Fireworks). Above all, I am not a Fireworks evangelist. Ideas matter most — the choice of tool is up to the designer. Nevertheless, I’ve noticed that many people underestimate the power of Fireworks, dismissing it as second-tier software. Having a vast amount of experience with both Photoshop and Fireworks, I can only respond that, for speed and pixel-perfection, Fireworks is faster for screen design. It’s precise, easy to use and straightforward. That’s why I have picked it as the main tool in this step-by-step tutorial on icon design.

A Word About Icon Design

My dissertation back in university was on symbols, icons and pictograms. This subject was one of my favorites back then (and still is). What utterly fascinated me was that you could convey a message with an icon or symbol. Words aren’t needed for an icon to be understood by the majority of cultures in the world (at least, if the icon is relevant). Designing for the future means exactly that. I’ve always found the idea of a memorable metaphor to be interesting. Designing icons requires a lot of planning and thinking: As in drawing and illustration, the designer is responsible for choosing elements that will make the metaphor more or less relevant. Good icons turn different aspects of culture into something comprehensible in many cultures and countries.

One of the most successful icon metaphors in modern history is the desktop10, used in operating systems, where the desktop is treated like a place to hold documents, folders, archives, pictures and files. (We’ll talk about icon design in detail in the following paragraphs. If you like the topic, you’ll find some useful links in the “Further Reading” section at the bottom of this article.)

Note: In this tutorial, we will explore some general principles that relate more to skeuomorphic design than to flat design (light, shadow, size and proportion, etc.). I will also cover some general techniques that I follow in icon design. So, by all means, pick up your favorite tool to follow along, whether it’s Illustrator, Sketch or Photoshop. I’ll be using Fireworks to show its core potential and to draw parallels with other vector tools. (This is my first tutorial for Smashing Magazine. I plan to write a couple of more articles that explore icon design and the features of two other popular tools, Illustrator11 and Sketch12.)

Files for This Tutorial

To follow this tutorial fully, download the icon we will be designing:

This layered Fireworks PNG file will help you follow the process step by step. The file is meant for reference. I encourage you to replicate the steps in a new file, with a blank canvas. Have fun!

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Let’s get started!

All Vector? Yes!

We won’t be using any raster (i.e. bitmap) images. Everything will be created with vector shapes and live filters. This means you will be able to easily adapt the final image to different sizes and resolutions.

Fireworks supports screen illustrations of up to 6000 × 6000 pixels (actually, even up to 10,000 × 10,00015), which is more than enough for the super-large HD displays of today’s mobile and desktop devices. And it also exports files to SVG16 format (with the help of a free extension17 that was covered in a recent article18 on Smashing Magazine). Using SVG as an exporting format gives you a lot of flexibility. You can use the resulting image right on the web or edit it further with pretty high fidelity in many other graphic design tools, including Adobe Illustrator CS6 and CC.

Scale your vector illustrations in Fireworks to any size, while maintaining quality and detail.

Footnotes

  1. 1 http://www.smashingmagazine.com/2013/08/26/mojo-motors-responsive-redesign-with-adobe-fireworks-part-1/
  2. 2 http://www.smashingmagazine.com/2012/07/03/interactive-prototypes-timesavers-adobe-fireworks/
  3. 3 http://www.smashingmagazine.com/2012/05/07/refining-designs-adobe-fireworks/
  4. 4 http://en.wikipedia.org/wiki/Skeuomorph
  5. 5 http://www.bbc.co.uk/news/magazine-22840833
  6. 6 http://www.creativefreedom.co.uk/icon-designers-blog/what-we-can-learn-from-early-icon-design/
  7. 7 http://www.kare.com/
  8. 8 http://turbomilk.com/blog/cookbook/icon_design/10_mistakes_in_icon_design/
  9. 9 http://ivomynttinen.com/blog/the-endless-fireworks-vs-photoshop-battle/
  10. 10 http://en.wikipedia.org/wiki/Desktop_metaphor
  11. 11 https://www.adobe.com/products/illustrator.html
  12. 12 http://www.bohemiancoding.com/sketch/
  13. 13 http://www.smashingmagazine.com/wp-content/uploads/2014/09/Rocket-Icon-Design.fw.png
  14. 14 http://www.smashingmagazine.com/wp-content/uploads/2014/09/Rocket-Icon-Design.fw.png
  15. 15 https://graphicdesign.stackexchange.com/questions/9440/adobe-fireworks-cs6-maximum-image-dimension
  16. 16 https://en.wikipedia.org/wiki/Scalable_Vector_Graphics
  17. 17 http://fireworks.abeall.com/extensions/commands/#Export
  18. 18 http://www.smashingmagazine.com/2013/11/06/even-more-fireworks-extensions-optimized-design-workflow/#exportcommands

The post Designing A Rocket Icon In Adobe Fireworks appeared first on Smashing Magazine.

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Design Principles: Connecting And Separating Elements Through Contrast And Similarity

September 22nd, 2014 No comments
david-simon-opt

Similarity and contrast, connection and separation, grouped and ungrouped are all ways to describe the varying sameness and difference between elements. Based on the information they carry, we’ll want some elements to look similar, to indicate that they are related in some way. We’ll also want to show that some elements are different and belong to different groups.

Key to showing both is the visual characteristics of elements and their relationships. If two elements are related in some way, then they should show similar visual characteristics. If the elements are different, then they should look different.

Note: This is the third post in a series on design principles. You’ll find the first two posts here:

Primitive Features

How do you show contrast and similarity between elements? The answer lies in the primitive features of the elements.

Primitive features3 are the intrinsic characteristics or attributes that an element might have. For example, what color is the element? How big is it? What shape is it?

These elements have different primitive features — in this case, of shape, color and texture.

Each of these things communicates something about the element. If one heading is bigger than another, then we assume the bigger heading is more important. We might view an element with a shape that’s jagged and sharp as being dangerous.

Sometimes, an element’s attributes need to be compared to the same attributes of another element in order to have meaning. The headings from the previous paragraph are a good example. A heading should only be bigger than another heading or another piece of text. The comparison is necessary for bigger to mean anything. It’s through comparisons like these that we communicate similarity and contrast.

By giving visually similar characteristics to multiple elements, we communicate that something is similar about the elements. If two elements on a web page are both red circles, it’s natural for a viewer to ask why. Why are both red? Why are both circles? The likely conclusion is that the elements are related in some way beyond how they look. The elements’ similarity implies that they carry a similar message.

Likewise, by applying visually different characteristics to multiple elements, we communicate that something is different about the elements and the messages they carry.

Any characteristic of an element4 that can be varied can be used to make elements look the same or different. A few characteristics, however, are most often used to show similarity and contrast. In no particular order, these are:

  • size,
  • shape,
  • color,
  • value,
  • texture,
  • position,
  • orientation.

A rectangle and a circle contrast in shape. Two red items are similar in color. A red rectangle and a red circle contrast in shape and show similarity in color. How you balance the similarity and contrast of elements through their visual characteristics will determine much about what those elements communicate to the viewer.

Note: While primitive features are the primary way to visually show contrast and similarity, we have other ways to show both — for example, the actual content that the elements carry. The words “stop” and “go” contrast. The words “stop” and “cease” are similar. Images contrast with text; long paragraphs contrast with short paragraphs; and so on.

Contrast

Human beings are wired to notice difference. It’s a survival mechanism to quickly differentiate a friend from something that wants to eat us. Being able to quickly determine that was vital to returning safely home to the cave at night.

Our ability to quickly notice differences is what makes contrast so powerful. Contrast attracts attention. It draws the eye. It gets noticed. By giving an element characteristics that are visually different from the elements that immediately surround it, we can create points of interest and emphasis. In fact, because the contrast of an element with its surroundings is so good at drawing attention to the element, it’s perhaps the most effective way to add interest and excitement to a design.

Contrast does more than attract attention. It establishes boundaries between elements, too. For example, contrasting the background color of the main content and that of a sidebar is one way to show where one ends and the other begins.

Differences that stand out can provide emphasis5, highlighting important elements and information. The greater the difference, the greater the contrast will be. The greater the contrast, the more important the element will appear.

For example, two ways to set off text are bolding and italicizing. Boldness typically shows more contrast and, thus, stands out more. Spotting bold text at a glance or from a distance is easier than spotting italicized text.

If two elements are meant to be different, go big with the contrast. You don’t want viewers to wonder whether the difference is intentional. Make sure the contrast is obvious and clearly intentional. Leave no room for misunderstanding. Don’t contrast text that’s 16 pixels with text that’s 15 pixels. People won’t notice the difference immediately and, once they do, it will appear to be more of a mistake than a conscious decision.

Be careful not to overdo it. Use contrast sparingly.6 If everything contrasts and tries to draw attention to itself, then nothing will stand out. You’ll end up with visual noise that causes confusion.

Too much contrast can break the harmony and unity in a design, leading to chaos and confusion. This might be what you’re after in a certain design, but more often than not it isn’t. Decide which few elements need to stand out, and make them look very different from everything else.

Contrast and Gestalt

While every gestalt principle is about showing similarity and contrast in some way, I want to point out two of them. Contrast is critical to determining the figure-ground relationship and showing dominance and focal points7.

  • Figure-ground
    One of the first things we do when viewing a composition is to determine what’s the figure and what’s the background8. This relationship helps to set context for everything else in the composition. Figure and ground need to contrast with each other or else the viewer will have difficulty determining which is which.
  • Focal points
    These are elements of attraction and interest. They’re designed to look different from their immediate surroundings. The contrast is what helps them stand out and draw attention. The element that stands out the most in the composition is the dominant element. Elements that stand out in a composition but to a lesser degree are focal points.

contrast-and-similarity-opt
Contrast and similarity at work: The green circles and orange bars are similar to other green circles and orange bars, but they contrast with each other.

Similarity

The same survival mechanism that enables us to quickly see difference also helps us to see when things are the same. It points us to who or what we can trust and to what might be dangerous. Being able to recognize similarity is why human beings are excellent at finding patterns9. Patterns help us understand the world around us, provide context and make learning quicker, to the point of something becoming intuition or instinct.

When we design two or more elements to look similar, we are indicating that what’s true about one is true about the other. If one of the elements is important, then the other one is likely important, too. If one element is clickable, then other elements that are visually similar will probably be clickable, too. It’s how we can quickly recognize links in a block of text. Visual contrast shows that links are different from the rest of the text, while the visual similarity among links tells us, once we’ve discovered what one does, that all of the links are clickable.

Similarity is about showing connection and showing that multiple items are related in some way. It brings familiarity and consistency to a design.

Similarity complements our natural strategies for processing information10. When we take in our visual surroundings and attempt to make sense of it all, we naturally group objects into chunks in order to hold more information in our working memory. We further group, organize and structure everything before it becomes part of our long-term memory.

Designing similar information to be visually similar helps the user to process and comprehend the information, which are two critical goals of design.

The more that primitive features of elements look the same, the more similar they’ll look and the more viewers will think they’re the same. They’ll appear grouped and related11 in some way, even if just one characteristic is shared; and the more they look the same visually, the more they’ll be perceived as being the same.

We use similarity to build structure12 and pattern. Any similarity between two elements in a composition implies a structure. Additional similarity fills out the structure and leads to pattern, texture and rhythm.

Not all signals that show similarity are equal. In the image below, would you group the objects by shape or color? Do you see a group of circles and one of squares, or do you see one red group and one blue group?

red-blue-circle-square-opt

You probably noticed color first, grouping the elements as red and blue. This suggests that color is a stronger communicator of similarity than shape. This is not absolute, however. For example, someone with red-green color blindness wouldn’t likely notice the difference between red and green objects before noticing the shapes of those objects.

Similarity and Gestalt

Again, every gestalt principle13 is about how we perceive the similarity or difference between objects. Many of them can be read as tips to show similarity.

  • closure
    different elements that may be part of a similar whole
  • symmetry and order
    mirrored elements that appear to belong together
  • uniform connectedness
    similarity through visually connecting elements
  • common regions
    similar items enclosed together
  • proximity
    similarity through enclosures in space
  • continuation
    similarity through rhythms in space
  • common fate
    similarity through movement
  • parallelism
    similarity through orientation

The Relationship Between Similarity And Contrast

Contrast and similarity show the relationships between elements. Nothing has meaning in isolation.14 An element needs to be shown in context with other elements.

What does one large element cornering a smaller element in a design imply? What does one block of text being indented more than others with light gray suggest?

cornered-circle-opt
A large circle cornering a small circle

Contrast and similarity are really just opposite ends of a scale. On one end of the scale, objects look entirely different; on the other end, they look exactly the same.

Most of the time, we’re somewhere in between the extremes, and the things we design will share some but not all characteristics. Similarity and contrast are expressions of where along the scale objects lie relative to each other.

Even though I haven’t been explicit about it, everything I’ve said about either similarity or contrast applies to the other. Having one is impossible without also having the other. Contrast is a lack of similarity, and similarity is a lack of contrast. It’s all about where it lies on the scale.

Thinking about them together makes them more impactful. You can use a single feature, such as color, to show that several elements are related, and then use a different color to show that several other elements are related but different from the first group. With just two colors, we can create two distinct groups of connected elements.

Color coding15 in this way is an effective way to categorize information so that the viewer can discover and understand at a glance.

When everything is the same, you get tedium. When everything is different, you get noise. The best designs have a healthy mix of similarity and contrast and show a clear understanding of what they’re trying to communicate.

Examples Of Contrast And Similarity

Contrast and similarity can be found on every website. Both need to be present. Imagine a website having no contrast. We’d all have a hard time reading text if it and the background were the same color. Just as difficult would be each word or phrase having a different style.

I’ll point out some of the contrast and similarity on the websites below. There’s more of each than what I’ll mention. I want to offer enough examples to get you thinking and then let you take over. Look at and study different designs, and work at truly improving your skill in balancing contrast and similarity.

David Simon

One of the first things you’ll notice on David Simon’s website16 is the contrast between background colors, which makes it easy to distinguish one part of the page from another. The logo stands out as a dark object against a light background of space.

17

The image contrasts with everything to draw the eye. The background of the posts’ dates, the full uppercase used for the meta data for comments, and the background color of the menu item for the current page are also examples of contrast drawing the eye and communicating something meaningful.

Links in the menu are all styled the same, as are the links to recent posts. Both are separated with horizontal lines. Each menu contrasts with the other to signal difference. Fonts are consistent throughout. The headings and body text contrast in typeface, but their difference is consistent across the website.

Links in the body could stand out more to make clear they’re links, although the designer might have deliberately made them less obvious in order not to interrupt the flow of reading. Headings could also have been made to stand out better, although it is pretty clear that they are not a part of the main text.

Mike Kus

The home page of Mike Kus’ website18 focuses on different projects that Mike’s worked on. Most of the page is empty, but notice how that makes each element stand out. The text contrasts with the background, as do the paintings against the background wall texture.

Note: Mike has changed his home page since I wrote this. What you see in the screenshot below is the previous version.

mike-kus-homepage-opt19

The paintings also contain the only color variety on the page. All other information is in the same dark gray.

Also, notice how the paintings are framed, indicating that they have something in common. In this case, they represent projects. Note, too, that the background shows similarity through its pattern of bricks. It’s clear what is figure and what is ground.

On Mike’s “About” page, below, the lone image of Mike contrasts with everything else. The blue button to “Get in touch” is the only element with color. You might not contact Mike, but it won’t be because you don’t know how. Buttons across the website have the same blue.

mike-kus-about-opt20

Mike’s name as the logo is repeated as the main heading on the page. The header contrasts with the background, as do the backgrounds of the various sections of the page below. Links in the menu share the same uppercase styling. Social icons at the top are repeated along the bottom.

Fonts are also used consistently, with headings in a sans-serif and body text in a serif, contrasting with each other.

Electric Pulp

The logo on Electric Pulp’s website21 is a red circle of moderate size. It contrasts well with everything else that is immediately visible. Notice how the color is repeated in the main navigation to indicate the current page.

electric-pulp-opt22

Headings across the website are big, bold and set in all caps. Headings and body text also contrast consistently across the website, with the former in a sans-serif and the latter in a serif.

Click into the “Notes” section and you’ll see previous and next links with background colors that contrast with the main background. Background color is also used to distinguish different sections of the page.

Most buttons on the website are a contrasting red (a color often used to set off elements) and change to blue on hover. However, on the “Work” page, the first button reverses this (it’s blue and changes to red on hover). Whether this is deliberate or accidental is hard to tell. Nevertheless, the principle of contrast is maintained.

Lowdi

One last website to consider is Lowdi’s23. The screenshot below is of the home page. Notice how color is used for both contrast and consistency.

lowdi-home-opt24

Color clearly delineates the start and end of sections. And the repetition of color creates a rhythm throughout the page. Notice how the yellow background of the price stands out, while also drawing the visitor’s eye down to the picture of the product.

Summary

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.

Showing that some things are the same and some are different is the first step in visual communication25. It’s the primary way that viewers derive meaning.

Contrast and similarity are clues to design elements. Differences draw our attention, and similarity transfers what we know about one element to another.

Ultimately, the goal is to contrast similar layers: making the elements in one group look similar to each other, but different from another like group of elements. The way we structure contrasting and similar elements creates hierarchy, flow and compositional balance, topics we’ll get to later in this series.

(al, il)

Footnotes

  1. 1 http://www.smashingmagazine.com/2014/03/28/design-principles-visual-perception-and-the-principles-of-gestalt/
  2. 2 http://www.smashingmagazine.com/2014/05/16/design-principles-space-figure-ground-relationship/
  3. 3 http://www.vanseodesign.com/web-design/organize-information-visual-perception/
  4. 4 http://www.scholarpedia.org/article/Visual_search#Factors_that_modulate_search_performance
  5. 5 http://daphne.palomar.edu/design/emphasis.html
  6. 6 http://www.designingforinteraction.com/wroblewski.html
  7. 7 http://www.vanseodesign.com/web-design/dominance/
  8. 8 http://www.smashingmagazine.com/2014/05/16/design-principles-space-figure-ground-relationship/
  9. 9 http://www.scientificamerican.com/article/patternicity-finding-meaningful-patterns/
  10. 10 http://books.google.com/books?id=yUalr7fhZMEC&pg=PA34&lpg=PA34&dq=working+memory+schema+mental+models&source=bl&ots=Nip6RBZGfM&sig=a7rLq7wM-EotwoNReIx6k16U2tE&hl=en&sa=X&ei=-A11U_r3HM2Jqga8iYDwCA&ved=0CHoQ6AEwDQ#v=onepage&q=working%20memory%20schema%20mental%20models&f=false
  11. 11 http://guymanningphotography.wordpress.com/2012/02/05/group/
  12. 12 http://www.andyrutledge.com/gestalt-principles-2-similarity.php
  13. 13 http://www.vanseodesign.com/web-design/gestalt-principles-of-perception/
  14. 14 http://alistapart.com/article/contrastandmeaning
  15. 15 http://www.fastcompany.com/3009605/work-smart/how-color-coded-notes-make-you-a-more-efficient-thinker
  16. 16 http://davidsimon.com/
  17. 17 http://davidsimon.com/
  18. 18 http://mikekus.com/
  19. 19 http://mikekus.com/
  20. 20 http://mikekus.com/
  21. 21 http://electricpulp.com/
  22. 22 http://electricpulp.com/
  23. 23 http://lowdi.com/
  24. 24 http://lowdi.com/
  25. 25 http://webstyleguide.com/wsg3/7-page-design/3-visual-design.html

The post Design Principles: Connecting And Separating Elements Through Contrast And Similarity appeared first on Smashing Magazine.

Categories: Others Tags:

World of Design No. 1: Ukraine

September 22nd, 2014 No comments

From Sevastopol to Kiev, from Lviv to Donetsk – the Ukraine is a huge country with a long, rich history as well as dramatic landscapes and seascapes. Under its wings live various ethnic groups with a wide and diverse cultural background. The Ukraine or better the Ukrainians definitely have something to show off. It is a motherland of splendid embroidery, lavish traditional costumes, and highly decorative arts and crafts. It is no wonder that it is the home of a great deal of virtuosos who not only are engaged in traditional types of art but also in modern ones including website design, mobile app design, typeface design and others. Sharing common roots with both Eastern European and Western European civilizations, its cultural heritage is a unique blend that bears remarkable and exceptional elements that couldn’t but help to encourage talented folks on eloquently expressing themselves through creating projects that can be hailed as real masterpieces. Ukrainian designers and agencies are active participants of different trendy mainstreams. They work inside the world arena and compete with others on high levels, making their own incomparable contribution as well as blessing the web with matchless high-end projects. Today we are going to shed some light on several Ukraine-based and really talented individuals as well as creative companies that have already managed to leave their mark.

Categories: Others Tags:

Prototyping For Better Products, Stronger Teams And Happier Clients

September 19th, 2014 No comments
For the first time ever, a generation of people starting as babies are using the touch-based apps we create.

As mobile designers, we have a stark decision to make: do we spend time learning new tools and changing our design processes to create our own transitional interfaces, or are the tools that we’ve been using good enough?

There’s an old writing adage that advises writers, whenever possible, to “show, don’t tell” when bringing characters to life. The goal is to reveal the story through the character’s experiences instead of the author’s.

When designing mobile products, we share a similar burden. Dammed up inside our heads are creative waterfalls of fresh interactions, transitions, and animations. But how are we supposed to communicate them to our teams, our developers? How do we get them out of our heads? Through a game of charades?

I’m guilty of that last one.

Not being able to “show” — in an efficient way — the interactions and animations that bring our designs to life is one of the common struggles plaguing our industry. The static mockups favored in our past are no longer good enough. They simply don’t do the job. Even relative newcomer Sketch — for all of its strength over Photoshop, the Goliath — can only create static screens that must be strung together, struggling to tell our product’s stories.

Exacerbating the urgency of this challenge is the simple fact that we now design for screens that can be tapped, pinched, swiped, zoomed, and more. There’s no way around the fact that our interfaces must become transitional, alive, and reactive to fingers. The mouse is becoming a relic of the past.

1
For the first time ever, a generation of people starting as babies are using the touch-based apps we create. Let’s just say touch-based interactions aren’t going anywhere anytime soon. (Image credit2, see GIF3)

Below, we’ll explore:

  • How prototyping has, of late, become an essential ingredient for creating the next generation of mobile apps
  • How two prototyping veterans use this in their daily workflows for their products teams and clients
  • The benefits prototyping provides
  • Ways you can incorporate this skill into your design workflow

Mobile Designers Are Hungry For A Better Way

Over the past year, there’s been a growing hunger in the design community to find a better way to “show” design interactions instead of “telling” them. Furthering this trend are large organizations like Airbnb, Evernote, Facebook, Google, and HubSpot. Many of them have been surprisingly benevolent by showing how they’ve started to include prototyping in their product workflows and the practical results of doing so.

The most organized, highest-profile effort in these endeavors has been Facebook’s, through its open-sourcing of Origami4. A set of tools and extensions built on top of Apple’s Quartz Composer5 (QC), these are the same tools used by the Facebook Creative Labs team that created Paper, Home, Slingshot, and more. Even renowned design firm IDEO released its own tools for QC called Avocado6.

7
Quartz Composer and Origami in action. (Image credit8)(View large version9)

It’s also been a poorly kept secret for some time now that Apple has a set of its own advanced prototyping tools. Rumored to be called “Mica,”10 it’s a tool Apple created for its UI designers to craft interactive interfaces more easily. Mica is allegedly Quartz Composer’s internal replacement, and has been used to create everything from interfaces to Final Cut Pro plugins. I wouldn’t be surprised if Mica had a role to play in the creation of iOS 7 and 8.

That’s Nice, But What About My Problems?

You might be thinking that prototyping is just some corporate fad — like something akin to transparent glass whiteboards or Six Sigma. Or it’s something that only elitist organizations with lots of time and money can afford to do.

But here’s the simple truth: prototyping can help all of us who are building mobile products create better products. And if that wasn’t enough, it’ll bring your team together and make your clients — or “stakeholders,” if you must use that word — happier, more in the loop, and more apt to buy into what you’re building.

Sounds like the Holy Grail to me.

Our Cast of Characters

It should be pointed out that I was, previously, a prototyping skeptic. I saw it as a frivolous luxury that took my time away from creating pixel-perfect, static mockups.

For years, my process was the same:

  • I’d create every possible state imaginable in pixel-perfection, and then spend countless words writing out how the app was supposed to work in a narrative format.
  • Our team would then sit through countless debates about what each of us had envisioned as the “right” functionality.
  • After our debates, we’d finally sit down to building what we agreed on in our heads. I’d spend countless hours trying to explain what I actually envisioned for the project’s interactions once we had something to work with.

This process worked for a time. We were building solely for the web with few responsive requirements. But the process became increasingly painful as we started to develop mobile apps. The cost and time required to backtrack after ideas didn’t pan out created unnecessary sink costs and mental overhead. Because we spent so much time building something, we felt compelled to use it.

We realized there had to be another way. And that’s when prototyping entered my world. I realized that my inability to move up the chain and contribute to creating the interactions I designed slowed us down. It hindered my team’s efforts to move quickly and to realize the success or failure of our product decisions faster.

So I set out both to learn how to prototype and learn where to incorporate it into my workflow. I also went into the field both to find and to learn from designers who are prototyping veterans: Steve Meszaros11, product designer at Wildcard12 and Pauly Ting13, Head of User Experience for Tigerspike14.

Meszaros works at Wildcard with Khoi Vinh15, former design director at the New York Times and named by Fast Company one of the fifty most influential designers in America. With Vinh, Meszaros is responsible for the interface design and interactivity for the not-yet-launched startup, which aims to combine the performance and experience of native apps with the breadth of the entire internet.

Ting is head of user experience at Tigerspike, a design firm that builds apps and mobile sites for Fortune 500 clients, from big-box retailers to internet giants. His work must operate at a massive scale from day one to satisfy not only his clients, but his client’s bosses and his client’s customers.

The following is what I learned about prototyping, both from my own practice and from a number of in-depth interviews with both of them. I’ll explore the benefits of prototyping and how you can incorporate prototyping into your workflow, today.

Prototyping: Best Served With A Healthy Dose Of Focus

Rapid prototyping’s primary purpose is to focus your already limited time. You’re cutting out fluff, tangents, and feature-creep to bring to life a very specific use case or workflow. Your job is to identify that:

  • You’re building the right thing.
  • This piece of your product solves the right problem.
  • This interaction is something your team is capable of building within a reasonable timeframe.

The first goal of prototyping is to test, prove, or conceptualize an idea that’s in your head within a limited timeframe or budget.

“It’s much like a hackathon,” says Ting.

The entire purpose here is to get your ideas out of your head as quickly as possible, and at a fidelity that presents the concepts in your head clearly enough.

All the time and frustration you spend trying to communicate rough interactions can be cut out by simply showing what you mean. A prototype serves as the seed and showcase of your ideas.

Many designers who start prototyping begin by trying to do too much. But the entire purpose of prototyping isn’t to design the interactions of your entire product at once, or to just make pretty things. It’s to demonstrate bite-sized pieces of interaction or specific workflows.

Choose The Right Tool For The Job

That being said, a successful prototype speaks directly to its audience. That means that before you start, you need to understand:

  • Who’s involved in the design process.
  • Who needs to be able to use it and provide feedback.
  • How soon it must be delivered.
  • The complexity of the idea you need to communicate.

Depending on how these factors are configured, a prototype can take on different forms. You might, for example, be able to get away with an unpolished, ugly, hacked-up HTML and CSS combo. Or sketches and wireframes might do. But in some cases, you’ll need to create more polished, accessible prototypes to really understand if an interaction will work.

If you’re on a product team and developing or refining new features, your job is to determine the product and features your team needs to build. You need to understand, define and communicate this as quickly and as thoroughly as you can. The product you define and design must solve the right problem and be something your team is capable of building within a reasonable timeframe.

Start by understanding the purpose of the product you’re building. Never lose sight of that as you move through the process. You also need to be aware of the team involved (whether it’s yours or includes a client), the timeframe, and the required deliverables.

“A prototype can serve many purposes. It can be just for demonstrating an idea, it can be for exploring and testing an idea, it can be for selling an idea, or it can be to build an MVP,” says Ting.

If you need to prototype a user flow, make sure that it tells a story. This can be more powerful than simply prototyping a single interaction, since single interactions are best understood by dedicated product teams. They’ll better understand where in the flow the interaction sits, how it’s different than any existing interactions, and how it will make an improvement.

Consequently, prototyping a single flow helps anybody using the prototype become more emotionally connected to the product. It enables one to get lost in the experience and better illustrates any differences or improvements to old or competitive flows.

These factors determine the tools you should choose to build your prototype. Overall, you should stick to this rule of thumb: if most of the time you spend prototyping is using the tool itself versus on the thought behind the design, you may be using the wrong tool for the job.

Prototyping Tools in Action: An Example Using InVision

Meszaros, Ting, and myself have Quartz Composer/Origami and Framer.js16 in our prototyping toolboxes. Lately, though, Ting has found that he throws down basic user flows first with InVision17, then homes in on specific interactions when necessary.

“InVision is my first go-to prototyping tool, largely because it’s so fast and simple to set up, with the added benefit of being able to share it seamlessly,” says Ting. “It requires no technical knowledge, which means when working with non-technical stakeholders, there’s an easy and low barrier for them to collaborate, participate, and more constructively contribute to the design process. It’s easily the fastest tool to use to create a polished-feeling experience.”

InVision can help piece together a series of static mockups quickly, providing somebody without technical knowledge the feeling of actually moving between screens. It can immerse people inside or outside your organization in the product, quickly selling an idea with basic segues and transitions.

Here’s an example of an InVision prototype Ting used to win a hackathon put on by the rental car giant Hertz. Ting’s task was to come up with a product strategy for what a “connected car” experience could look like for Hertz customers. Within 24 hours, Ting’s team of three researched the use case, created user stories, and constructed the prototype.

Pauly Ting's prototype for a Hertz Gold mobile app.18
Pauly Ting’s prototype for a Hertz Gold mobile app. Built with InVision. (Image credit19, see GIF20)

With this prototype, Ting was able to tell a story about how a mobile app could improve the overall experience of renting a car. It included real-world experiences typically faced by rental car customers, and prototyped how push notifications, GPS navigation, and in-app commerce could be combined to create a compelling flow.

You can see how easy it is to get started with InVision by checking out this short video21.

The Power of Advanced Prototyping Tools

Limited to basic transitions and animations, InVision trades personality for expediency. More advanced tools like Quartz Composer or Framer.js could unlock interactions you otherwise wouldn’t be able to represent with InVision. These tools, while sometimes difficult to adopt, are the key to creating wholly original interactions tailored to your product and visual style.

“Prototyping [with advanced tools] has taught me more about design and usability than I had imagined,” says Meszaros. “It’s a fun way to learn a new language or application and is critical to building and articulating interaction. I’d recommend taking an hour a day to play with a new prototyping application or language such as Framer.js. Download example files off GitHub and dissect them, tweak them, adjust them.”

Advanced prototyping tools like Quartz Composer are almost a requirement for you to create interactions and animations that have never before been seen. And they’re a must if you need fine-grained control over every aspect of your creation.

In my own experience, getting through the initial learning curve of Quartz Composer and Origami wasn’t the epic struggle it’s been advertised to be. After only a few hours, I was able to create complete flows with wholly original interactions and present them to my team for testing, feedback, a few iterations, and implementation in Xcode. It was both creatively satisfying and expedient, as it saved my team countless hours of vague back-and-forth to get interactions and animation timing exactly right.

To neutralize this perceived learning curve, I co-created a video crash course22 that specifically helps mobile designers master the basics of Quartz Composer and Origami in five days or less. You can start creating prototypes right away at your own pace. Jay Thrash also has a great series of videos23 for Quartz Composer beginners, and I’ve also enjoyed the work of the Pra Brothers24.

Test Your Prototype As Soon As Possible

Once the prototype is ready for consumption, it should immediately be used to drive discussion toward the eventual decision about how to proceed.

Beyond speed, this is another huge benefit of prototyping. It allows for greater buy-in across your organization and even among your clients. The prototype becomes a common language that can be experienced and understood by everyone.

It’s here that your goal is to understand where your interaction or flow falls short. What parts are implausible to build or too over-the-top? Where do people get confused? What parts could use more personality or ingenuity? How could these changes inform other parts of your product? Get it in front of your developers, decision makers, customers and clients and you’ll have quick answers to these questions.

“Visualizing [and experiencing] interactions allows us to have more constructive conversations with the larger team,” says Meszaros. “Prototypes have been instrumental in bringing together and facilitating feedback across all areas of the team from strategy, to engineering and design. By developing prototypes, we have greater control of our consequences. At Wildcard, discovering whether or not a build may be expensive is critical to staying on target,” he continues. “That’s why I strongly advocate designing and prototyping in context whenever possible. I find it best to build with all attributes of the UI in place as it would be in the final product.”

Prototyping in Action: A Example from Wildcard

To illustrate this, let’s look at a prototype Meszaros built for Wildcard using Quartz Composer and Origami. This also happens to be the first time the company has released anything to the public about how the Wildcard product looks and works.

“This is an early example of what we built with Quartz Composer and Origami while defining our interaction paradigms,” says Meszaros. “The prototype highlights a key problem: notice that the old ‘cards’ transition by falling off of the screen, while new cards ‘spawn’ from beneath the parent card.”

One of many prototypes built by Stephen Meszaros to fine-tune how old content is dismissed and new content loaded in Wildcard.25
One of many prototypes built by Stephen Meszaros to fine-tune how old content is dismissed and new content loaded in Wildcard. (Image credit26, see GIF27)

“It quickly became apparent [in user testing] that this may confuse someone as to the location of the old cards. Some questions we asked ourselves were ‘where do I find my old cards?’ ‘Are they lower on the screen?’ and the like. With this, we were able to identify some key concerns in developing this prototype and quickly built alternative prototypes with more confidence.”

This confusion was uncovered in one of Wildcard’s prototype review sessions, led by Meszaros and Vinh.

This small example highlights the importance of taking the time to perform unbiased user tests with the prototypes you’ve built. It’s not enough to create a prototype and informally perform over-the-shoulder review sessions. Prototypes require dedicated segments of time with potential customers, your clients, and team members to see how they respond.

After each session is over, take notes about how you can improve the prototype while it’s fresh in your mind. Sometimes, the problems identified in a prototype can even be remedied within minutes or seconds by making on-the-fly changes. The effect of this speed is immeasurable, because it affects so many areas of the organization — it increases the creativity and originality of a designer, it prevents code from being wasted (and, subsequently, keeps the code base cleaner), it unifies the team, and it brings the product closer to what your customers actually want.

A Typical Timeframe

So how long should the typical prototyping cycle take? On average, the three of us found that the entire loop of prototype creation, testing, iteration, and readying for implementation took about a week. The most each of us had seen was two weeks — mostly due to communication lulls.

One to two weeks allows enough time to come up with ideas and deliver them without fluff, tangents, or politics. It’s a forcing function to prevent wasted cycles. But it’s long enough to stop, breathe, and be able to make smart decisions.

But it’s important to note that there’s no defined scale for this time period. That’s to say, we’ve each been able to prototype everything from a very specific effect (i.e. the effect a user sees when a camera takes a photo), a user flow (how a user sends another user a photo), to the basics of how an entire app works. The scope depends on the level of polish you need, what phase of development you’re in, and who the audience is. Remember, though, that the longer the “sprint,” the more difficult it becomes to maintain momentum.

For many small product teams, the typical turnaround of this process could be as fast as a a typical business day.

“The biggest thing I’ve learned about rapid prototyping is that it’s a great equalizer,” said Ting. “Using tools like InVision or Quartz Composer really puts the onus on UI, UX, PMs, and engineers to understand each other’s disciplines and thus work together. We’ve had little conflict, everyone feels informed and it’s very organic in feeling. Rapid prototyping allows that. It’s not just a tool or even a methodology, it’s a culture.”

Ensuring A Repeatable Process

Once the prototype has been vetted by your team and, ideally, your customers or clients, it’s your job to make it easy for an engineer to implement.

Depending on your tools of choice, this can take many forms. For some, it might be just handing off code you wrote in Framer.js, or sharing your Xcode Storyboards28. It doesn’t matter if your code is messy — it only matters that your developers know the experience you’re trying to achieve, the logic required to get there, and specific values for timing, speed, bounciness, tap areas, and other particulars.

If you used Quartz Composer and Origami, share your composition files and extract key values, such as transition and animation timing. Include the type of easing curve, such as “Quadratic In-Out,” if applicable. Providing as much information up front about how to implement your ideas will increase the speed at which you can ship your product.

Bleed as much into the development process as you can, and hone this skill over time. The amount of effort and care you invest in this handoff phase will have a direct effect on your organizaton’s process. Since it makes it easier on your engineering team to implement your ideas, it’ll help to solidify prototyping as a staple of your development efforts.

Weaving prototyping into your process may seem daunting if there are many separate teams handling pieces of the app’s design. You might, for example, have separate user interface and wireframing teams. Remember that for prototyping to be successful, it has to be an inclusive — and highly-collaborative — process. Wherever possible, separate teams need to work side-by-side to eliminate the rudimentary boundaries of departments and even physical space.

In the end, prototyping brings everybody who’s involved in the process of building a product closer to the end goal: making something that your customer wants. Embracing this means changing how your team works.

A Challenge: Approach Your Design Goals from Now On with a Prototyping Mind

In the end, you’ll be amazed at what you can accomplish through prototyping. Not only is it a great unifier for your team and your customers, it builds excitement for what you’re building and makes everyone feel like they’re a part of the design process. It brings joy and momentum to design reviews. And it helps your team make better decisions.

“Prototyping helps us to make more deliberate and calculated decisions as a group, and that is what may be most important aspect of prototyping,” says Meszaros. “It’s an engaging way to review new features or updates and brings a bit of joy to our design reviews. Don’t be intimidated to prototype, you’ll be amazed by what you can accomplish.”

But perhaps the most powerful side effect is that it can make you a better designer. You’ll become both more productive and more creative. When you’re building rapid prototypes, you begin to create feedback loops that improve your designs. You’ll stumble upon ideas as you work through the core problem you’re trying to solve.

“There are regular situations where I would literally change a design in front of everyone mid-discussion and ask, ‘is that what you mean?’” recalls Ting. “And then we’d test and discuss that. It saved hours and days of emails, meetings, side conversations, politics and debate.”

Next Steps

  • Learn a prototyping tool, ideally one that you can use to create designs meant for touch manipulation, like Quartz Composer29 or Framer.js. You’ll be investing in your own future.
  • Spend time hanging out in communities — online or offline — where you can learn from others with more prototyping experience. Understand their common struggles, how they’ve tackled them, and learn how they stay fresh. QC Designers30 is one of my go-to communities for Quartz Composer questions.
  • Collect videos (I use Reflector31) or animated GIFs of app interactions that you like. Replicate them with your new prototyping skills.
  • Set a date for when you want to start using interactive prototypes in your daily work. Present to key co-workers and let them manipulate your designs on their own. Smile when they have a look of amazement on their face.

(ml, og, il)

Footnotes

  1. 1 http://provide.smashingmagazine.com/baby.gif
  2. 2 https://www.youtube.com/watch?v=MGMsT4qNA-c
  3. 3 http://provide.smashingmagazine.com/baby.gif
  4. 4 http://facebook.github.io/origami/
  5. 5 https://developer.apple.com/library/mac/documentation/graphicsimaging/conceptual/QuartzComposerUserGuide/qc_concepts/qc_concepts.html#//apple_ref/doc/uid/TP40005381-CH212-SW9
  6. 6 http://labs.ideo.com/2014/05/27/avocado/
  7. 7 http://www.smashingmagazine.com/wp-content/uploads/2014/09/lesson-4-opt.jpg
  8. 8 http://scotthurff.com/qc
  9. 9 http://www.smashingmagazine.com/wp-content/uploads/2014/09/lesson-4-opt.jpg
  10. 10 https://news.layervault.com/stories/23355-is-facebooks-origami-the-savior-of-quartz-composer
  11. 11 http://www.stephenmeszaros.com
  12. 12 http://trywildcard.com
  13. 13 http://paulyting.com
  14. 14 http://tigerspike.com
  15. 15 http://subtraction.com
  16. 16 http://framerjs.com/
  17. 17 http://www.invisionapp.com/
  18. 18 http://provide.smashingmagazine.com/hertz.gif
  19. 19 http://paulyting.com/
  20. 20 http://provide.smashingmagazine.com/hertz.gif
  21. 21 //fast.wistia.net/embed/iframe/8trbenyqfc?videoFoam=true
  22. 22 http://scotthurff.com/qc
  23. 23 http://vimeo.com/85578380
  24. 24 http://qc.prabros.com/primer1.html
  25. 25 http://provide.smashingmagazine.com/wildcard.gif
  26. 26 http://www.stephenmeszaros.com/
  27. 27 http://provide.smashingmagazine.com/wildcard.gif
  28. 28 https://developer.apple.com/library/ios/referencelibrary/GettingStarted/RoadMapiOS/SecondTutorial.html
  29. 29 http://scotthurff.com/qc
  30. 30 http://qcdesigners.com
  31. 31 http://www.airsquirrels.com/reflector/

The post Prototyping For Better Products, Stronger Teams And Happier Clients appeared first on Smashing Magazine.

Categories: Others Tags:

For the Love of Typography: 30 Free Decorative TypeFaces for Graphic Designers

September 19th, 2014 No comments

Typography in the world of web design is only still growing in importance, while in the world of print design noone doubts the importance of great type choices and craftsmenship. Every artist understands that this is able to either make or break your design, no matter how lavish or unique it looks. Harmony in design aesthetics is what really matters, and typography plays a crucial role here. There is no more powerful tool than a properly-selected typeface that will help to harmoniously blend text into composition, and at the same time, make its presence felt.

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Efficiently Simplifying Navigation, Part 3: Interaction Design

September 18th, 2014 No comments
1-preview-opt

Having addressed the information architecture1 and the various systems2 of navigation in the first two articles of this series, the last step is to efficiently simplify the navigation experience — specifically, by carefully designing interaction with the navigation menu.

When designing interaction with any type of navigation menu, we have to consider the following six aspects:

  • symbols,
  • target areas,
  • interaction event,
  • layout,
  • levels,
  • functional context.

It is possible to design these aspects in different ways. Designers often experiment with new techniques3 to create a more exciting navigation experience. And looking for new, more engaging solutions is a very good thing. However, most users just want to get to the content with as little fuss as possible. For those users, designing the aforementioned aspects to be as simple, predictable and comfortable as possible is important.

Symbols

Users often rely on small visual clues, such as icons and symbols, to guide them through a website’s interface. Creating a system of symbolic communication throughout the website that is unambiguous and consistent is important.

The first principle in designing a drop-down navigation menu is to make users aware that it exists in the first place.

The Triangle Symbol

A downward triangle next to the corresponding menu label is the most familiar way to indicate a drop-down menu and distinguish it from regular links.

4
A downward triangle next to the menu label is the most reliable way to indicate a drop-down. (Source: CBS5) (View large version6)

If a menu flies out, rather than drops down, then the triangle or arrow should point in the right direction. The website below is exemplary because it also takes into account the available margin and adjusts the direction in which the menu unfolds accordingly.

7
A triangle or arrow pointing in the right direction is the most reliable way to indicate a fly-out menu. (Source: Currys8) (View large version9)

The Plus Symbol

Another symbol that is used for opening menus is the plus symbol (“+”). Notice that the website below mixes symbols: an arrow for the top navigation menu and a “+” for the dynamic navigation menu to the left (although an arrow is used to further expand the dynamic menu — for example, to show “More sports”).

3-preview-opt10
Some websites use a “+” to drop down or fly out menus. (Source: Nike11) (View large version12)

Mixing symbols can be problematic, as we’ll see below. So, if you ever add functionality that enables users to add something (such as an image, a cart or a playlist), then “+” would not be ideal for dropping down or flying out a menu because it typically represents adding something.

The Three-Line Symbol

A third symbol often used to indicate a navigation menu, especially on responsive websites, is three horizontal lines.

4-preview-opt13
Three horizontal lines is frequently used for responsive navigation menus. (Source: Nokia14) (View large version15)

Note a couple of things. First, three lines, like a grid16 and a bullet list17 icon, communicate a certain type of layout — specifically, a vertical stack of entries. The menu’s layout should be consistent with the layout that the icon implies. The website below, for example, lists items horizontally, thus contradicting the layout indicated by the menu symbol.

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Three lines do not work well if the menu items are not stacked vertically. (Source: dConstruct 201219) (View large version20)

The advantage of the more inclusive triangle symbol and the label “Menu” is that they suit any layout, allowing you to change the layout without having to change the icon.

Secondly, even though three lines are becoming more common, the symbol is still relatively new, and it is more ambiguous, possibly representing more than just a navigation menu. Therefore, a label would clarify its purpose for many users.

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An accompanying label would clarify the purpose of the three lines. (Source: Kiwibank22) (View large version23)

Consistent Use Of Symbols

While finding symbols that accurately represent an element or task is important, also carefully plan their usage throughout the website to create a consistent appearance and avoid confusion.

Notice the inconsistent use of symbols in the screenshot below. The three lines in the upper-right corner drop down the navigation menu. The three lines in the center indicate “View nutrition info.” The “Location” selector uses a downward triangle, while the “Drinks” and “Food” menus, which drop down as well, use a “+” symbol.

consistent_symbols24
Inconsistent symbols lead to confusion. (Source: Starbucks25) (View large version26)

While using multiple symbols for a drop-down menu is inconsistent, using arrows for anything other than a drop-down menu causes problems, too. As seen below, all options load a new page, rather than fly out or drop down a menu.

arrow27
Using a triangle or arrow for anything other than a drop-down or fly-out menu can cause confusion. (Source: Barista Prima28) (View large version29)

This leads to a couple of problems. First, using arrows for regular links — whether to create the illusion of space30 or for other reasons — puts pressure on you to consistently do the same for all links. Otherwise, users could be surprised, not knowing when to expect a link to load a simple menu or a new page altogether. Secondly, a single-level item, such as “Products”, could conceivably be expanded with subcategories in the future. A triangle could then be added to indicate this and distinguish it from single-level entries, such as the “About” item.

Users generally interpret an arrow to indicate a drop-down or fly-out menu. And they don’t have any problem following a link with no arrow, as long as it looks clickable. It is best not to mix these two concepts.

Footnotes

  1. 1 http://www.smashingmagazine.com/2013/12/03/efficiently-simplifying-navigation-information-architecture/
  2. 2 http://www.smashingmagazine.com/2014/05/09/efficiently-simplifying-navigation-systems/
  3. 3 http://www.smashingmagazine.com/2013/07/11/innovative-navigation-designs/
  4. 4 http://www.smashingmagazine.com/wp-content/uploads/2014/07/1-large-opt.jpg
  5. 5 http://www.cbs.com/shows/bad-teacher/
  6. 6 http://www.smashingmagazine.com/wp-content/uploads/2014/07/1-large-opt.jpg
  7. 7 http://www.smashingmagazine.com/wp-content/uploads/2014/07/2-large-opt.jpg
  8. 8 http://www.currys.co.uk/gbuk/index.html
  9. 9 http://www.smashingmagazine.com/wp-content/uploads/2014/07/2-large-opt.jpg
  10. 10 http://www.smashingmagazine.com/wp-content/uploads/2014/07/3-large-opt.jpg
  11. 11 http://www.nike.com/us/en_us/
  12. 12 http://www.smashingmagazine.com/wp-content/uploads/2014/07/3-large-opt.jpg
  13. 13 http://www.smashingmagazine.com/wp-content/uploads/2014/07/4-large-opt.png
  14. 14 http://nokia.com
  15. 15 http://www.smashingmagazine.com/wp-content/uploads/2014/07/4-large-opt.png
  16. 16 http://www.smashingmagazine.com/wp-content/uploads/2013/08/grid.jpg
  17. 17 http://www.smashingmagazine.com/wp-content/uploads/2013/08/bullet_list.jpg
  18. 18 http://www.smashingmagazine.com/wp-content/uploads/2014/07/5-large-opt.jpg
  19. 19 http://2012.dconstruct.org
  20. 20 http://www.smashingmagazine.com/wp-content/uploads/2014/07/5-large-opt.jpg
  21. 21 http://www.smashingmagazine.com/wp-content/uploads/2014/07/6-large-opt.jpg
  22. 22 http://kiwibank.co.nz/
  23. 23 http://www.smashingmagazine.com/wp-content/uploads/2014/07/6-large-opt.jpg
  24. 24 http://www.smashingmagazine.com/wp-content/uploads/2014/08/7-large-opt.png
  25. 25 http://www.starbucks.com/menu/catalog/product?drink=bottled-drinks#view_control=product
  26. 26 http://www.smashingmagazine.com/wp-content/uploads/2014/08/7-large-opt.png
  27. 27 http://www.smashingmagazine.com/wp-content/uploads/2014/08/8-large-opt.png
  28. 28 http://www.baristaprima.ca/
  29. 29 http://www.smashingmagazine.com/wp-content/uploads/2014/08/8-large-opt.png
  30. 30 http://baymard.com/blog/ux-illusion-of-space

The post Efficiently Simplifying Navigation, Part 3: Interaction Design appeared first on Smashing Magazine.

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