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CSS-Only Solution For UI Tracking

October 16th, 2014 No comments
Tracking UI with CSS

The web is growing up. We are building applications that work entirely in the browser. They are responsive; they have tons of features and work under many devices. We enjoy providing high-quality code that is well structured and tested.

But what matters in the end is the impact for clients. Are they getting more products sold or are there more visitors for their campaign sites? The final results usually show if our project is successful. And we rely on statistics as a measuring tool. We all use instruments like Google Analytics1. It is a powerful way to collect data. In this article, we will see a CSS-only approach for tracking UI interactions using Google Analytics.

2The Problem

We developed an application that had to work on various devices. We were not able to test on most of them and decided that we had to make everything simple. So simple that there wasn’t a chance to produce buggy code. The design was clean, minimalistic, and there wasn’t any complex business logic.

It was a website displaying information about one of the client’s products. One of our tasks was to track user visits and interactions. For most cases, we used Google Analytics. All we had to do was to place code like the example below at the bottom of the pages:

(function(i,s,o,g,r,a,m){i['GoogleAnalyticsObject']=r;i[r]=i[r]||function(){
(i[r].q=i[r].q||[]).push(arguments)},i[r].l=1*new Date();a=s.createElement(o),
m=s.getElementsByTagName(o)[0];a.async=1;a.src=g;m.parentNode.insertBefore(a,m)
})(window,document,'script','//www.google-analytics.com/analytics.js','ga');

ga('create', '......', '......');
ga('send', 'pageview');

This snippet was enough for tracking page views, traffic, sessions, etc. Moreover, we placed JavaScript where the user interacts with the page. For example, clicking on a link, filling an input field, or checking option boxes.

ga('send', 'event', 'ui-interaction', 'click', 'link clicked', 1);

The guys from Google handled these events nicely, and we were able to see them in our account. However, at some point the client reported that there were devices that have bad or no JavaScript support. They represented roughly 2% of all the devices that visited the site. We started searching for a solution that did not involve JavaScript. We were ready to admit that we could not collect statistics under these circumstances.

It was not that bad, but the client shared another issue. Our little application was going to be part of a private network. The computers there had JavaScript turned off for security reasons. Also, this private network was important for the client. So, he insisted that we still get stats in those cases. We had to provide a proper solution, but the problem was that we had only CSS and HTML available as tools.

3The Solution

While searching for a solution, I was monitoring the Network tab in Chrome’s developer tools when I noticed the following:

4
(View large version5)

In the beginning, I thought that there was nothing unusual. Google Analytics’s code made few HTTP requests for its tracking processes. However, the fourth column shows the Content-type header of the response. It is an image. Not JSON or HTML, but an image. Then I started reading the documentation and landed on this Tracking Code Overview6. The most interesting part was:

When all this information is collected, it is sent to the Analytics servers in the form of a long list of parameters attached to a single-pixel GIF image request.

So, Google indeed made the HTTP request but not the trivial Ajax call. It simply appends all the parameters to an image’s URL. After that it performs a request for a GIF file. There is even a name for such requests: beacon7. I wondered why GA uses this approach. Then I realized that there are some benefits:

  • It is simple. We initialize a new Image object and apply a value to its src attribute:
    new Image().src = '/stats.gif?' + parameters
  • It works everywhere. There is no need to add workarounds for different browsers as we do for Ajax requests.
  • Tiny response. As Stoyan Stefanov said8, the 1×1px GIF image could be only 42 bytes.

I made few clicks and sent events to Google Analytics. Knowing the request parameters, I was able to construct my own image URLs. The only thing to do in the end was to load an image on the page. And yes, this was possible with pure CSS.

background-image: url('http://www.google-analytics.com/collect?v=1&_v=j23&a=...');

Setting the background-image CSS property forces the browser to load an image. Finally, we successfully used this technique to track user actions.

9Tracking User Actions

There are several ways to change styles based on user input. The first thing we thought about was the :active pseudo class. This class matches when an element is activated by the user. It is the time between the moment the user presses the mouse button and releases it. In our case, this was perfect for tracking clicks:

input[type="button"]:active {
    background-image: url('http://www.google-analytics.com/collect?v=1&_v=j23&a=...');
}

Another useful pseudo class is :focus. We recorded how many times users started typing in the contact form. It was interesting to find out that in about 10% of cases users did not actually submit the form.

input[name="message"]:focus {
    background-image: url('http://www.google-analytics.com/collect?v=1&_v=j23&a=...');
}

On one page, we had a step-by-step questionnaire. At the end, the user was asked to agree with some terms and conditions. Some of the visitors did not complete that last step. In the first version of the site, we were not able to determine what these users had selected in the questionnaire because the results would have been sent after completion. However, because all the steps were just radio buttons, we used the :checked pseudo class and successfully tracked the selections:

input[value="female"]:checked {
    background-image: url('http://www.google-analytics.com/collect?v=1&_v=j23&a=...');
}

One of the most important statistics we had to deliver was about the diversity of screen resolutions. Thanks to media queries this was possible:

@media all and (max-width: 640px) {
    body {
        background-image: url('http://www.google-analytics.com/collect?v=1&_v=j23&a=...');
    }
}

In fact, there are quite a few logical operators10 that we can use. We can track screens with a specific aspect ratio; devices in landscape orientation; or those with a resolution of 300dpi.

11Drawbacks

The problem with this kind of CSS UI tracking is that we get only the first occurrence of the event. For example, take the :active pseudo class example. The request for the background image is fired only once. If we need to capture every click then, we have to change the URL, which is not possible without JavaScript.

We used the background-image property to make the HTTP requests. However, sometimes we might need to set a real image as a background because of the application’s design. In such cases we could use the content property. It is usually used for adding text or icons but the property also accepts an image. For example:

input[value="female"]:checked {
    content: url('http://www.google-analytics.com/collect?v=1&_v=j23&a=...');
}

Because we are requesting an image, we should make sure that the browser is not caching the file. The statistics server should process the request each time. We could achieve this by providing the correct headers. Check out the image below. It shows the response headers sent by Google:

12
(View large version13)

Sending the following headers guarantees that the browser will not cache the image:

Cache-Control: no-cache, no-store, must-revalidate
Pragma: no-cache
Expires: 0

In some cases, we may decide to write our own statistics server. This is an important note that we must consider during development. Here is a simple Node.js-based implementation. We used that for testing purposes:

var fs = require('fs'),
    http = require('http'),
    url = require('url'),
    img = fs.readFileSync(__dirname + '/stat.png'),
    stats = {};

var collectStats = function(type) {
    console.log('collectStats type=' + type);
    if(!stats[type]) stats[type] = 0;
    stats[type]++;
}

http.createServer(function(req, res){
    var request = url.parse(req.url, true);
    var action = request.pathname;
    if (action == '/stat.png') {
        collectStats(request.query.type);
        res.writeHead(200, {'Content-Type': 'image/gif', 'Cache-Control': 'no-cache' });
        res.end(img, 'binary');
    } else { 
        res.writeHead(200, {'Content-Type': 'text/html' });
        res.end('Stats server:<pre>' + JSON.stringify(stats) + '</pre>n');
    }
}).listen(8000, '127.0.0.1');
console.log('Server is running at http://127.0.0.1:8000');

If we save the code to a file called server.js and execute node server.js we will get a server listening on port 8000. There are two possible URLs for querying:

* http://127.0.0.1:8000/ - shows the collected statistics
* http://127.0.0.1:8000/stat.png?type=something - collecting statistics. 

By requesting the PNG in the second URL, we are incrementing values. The following piece of code shows the HTML and CSS that we have to place in the browser:

<input type="button" value="click me"/>

input[type="button"]:active {
    background-image: url('http://127.0.0.1:8000/stat.png?type=form-submitted');
}

Finally, as a last drawback we have to mention that some antivirus software or browser settings may remove 1×1px beacons. So we have to be careful when choosing this technique and make sure that we provide workarounds.

14Summary

CSS is usually considered a language for applying styles to webpages. However, in this article we saw that it is more than that. It is also a handy tool for collecting statistics.

(ds, il, og)

Footnotes

  1. 1 http://www.google.com/analytics/
  2. 2 #the-problem
  3. 3 #the-solution
  4. 4 http://www.smashingmagazine.com/wp-content/uploads/2014/10/1-google-analytics-large-preview-opt.png
  5. 5 http://www.smashingmagazine.com/wp-content/uploads/2014/10/1-google-analytics-large-preview-opt.png
  6. 6 https://developers.google.com/analytics/resources/concepts/gaConceptsTrackingOverview
  7. 7 http://www.phpied.com/beacon-performance/
  8. 8 http://www.phpied.com/beacon-performance/
  9. 9 #the-tracking
  10. 10 https://developer.mozilla.org/en-US/docs/Web/Guide/CSS/Media_queries
  11. 11 #drawbacks
  12. 12 http://www.smashingmagazine.com/wp-content/uploads/2014/10/2-google-analytics-large-preview-opt.png
  13. 13 http://www.smashingmagazine.com/wp-content/uploads/2014/10/2-google-analytics-large-preview-opt.png
  14. 14 #summary

The post CSS-Only Solution For UI Tracking appeared first on Smashing Magazine.

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JotForm’s Latest Product is Hands Down the Best Form Designer You Can Get

October 15th, 2014 No comments

Forms – the inevitable, the unavoidable. Nobody actually loves them, yet no one can do without them. Be it in real life or on the net, forms are a necessary evil. Or should I say were a necessary evil? Today JotForm, the online forms creation service has introduced a new tool dedicated to making forms attractive with ease. This new tool is called “Form Designer” and it does nothing less than bring the fun factor back to form design. Did I say “back”? Hmm, anyway…

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Ready For Retina HD: Create Pixel-Perfect Assets For Multiple Scale Factors

October 15th, 2014 No comments
These selections will help you working precise with the Direct Selection tool.

The 6 Plus is the first iPhone that sports a “Retina HD” display — the sharpest display Apple has ever made. It forces designers to provide an additional set of image resources to developers to match that sharpness.

We needed only one set of assets for the original iPhone up to iPhone 3GS. And when iPhone 4 came out with the Retina display, we also needed 2x assets — images twice as detailed. Now, with the display of the 6 Plus being even more detailed than that of the iPhone 4, we will also need to provide 3x assets. The numbers 1x, 2x and 3x are also called “scale factors.”

Of course, Android developers have always had to deal with many different sets of assets. Still, designers are finding themselves questioning their production workflow. In this article, we’ll focus on iOS, but you could easily extend this approach to Android and the web. We won’t try to provide a silver bullet, and perhaps other ways might seem easier at first, but this article lays out a solid workflow that scales up for big projects.

First off, your icon sets should be vector-based. The approach described in this article focuses on generating multiple asset versions from a single vector shape in a Photoshop document that contains all of your icons.

A unified icon document has the advantage of keeping everything together in one file, allowing you to see how well your icons and assets harmonize.

If you’re designing for iOS 7 and above, then you might think that 1x versions aren’t needed anymore. However, you’ll still need them for devices such as the original iPad Mini, the iPad 2 and potentially Android and the web.

Set Up Photoshop

First, I’ll show you how I set up Photoshop. If you know what you’re doing, you can use other settings. But for those curious about how I like to work, this is it:

  1. Disable eye candy like “Animated Zoom” and “Flick Panning.”
  2. Disable “Snap Vector Tools and Transforms to Pixel Grid.”

The first point is a matter of personal taste, but not following the second point can get in your way when you’re trying to be precise with the Direct Selection tool.

1
These selections will help you working precise with the Direct Selection tool. (View large version2)

Then, I’ll configure the Move tool (V) to select layers. You don’t need to check “Auto-Select” because you can select a layer automatically by pressing the Command key while clicking. Disabling this option protects you from moving layers unintentionally.

3
Configure the Move tool (V) to select layers. (View large version4)

Feel Free

First and foremost, I believe that design and production are two separate phases. When your creativity is flowing, you shouldn’t worry much about production constraints.

Design at your favorite resolution (perhaps 2x), and lay out using the dimensions of a device you’re familiar with. But definitely use a real device, and use apps like Skala Preview and xScope to mirror the design live on your device. You should not be working with apps unless you are constantly checking the design on a real device.

Tidy Up Those Vectors

As noted, I’ll assume that you’re designing your icons in Illustrator. Before copying them to Photoshop, you’ll need to tidy them up. Use Pathfinder to add and subtract paths until you have a single shape.

If you design your icons in Illustrator, you need to tidy them up before copying them to Photoshop.5
If you design your icons in Illustrator, you need to tidy them up before copying them to Photoshop. (View large version6)

On the left above is a complex icon made up of multiple shapes, including a white shape to simulate transparency. For the icon on the right, I subtracted the white rectangle from the black one behind it. Do this by selecting the two rectangles and pressing the “Minus Front” button in the Pathfinder panel. Then, select all shapes and click “Unite” to combine them into one.

Now, copy the path to Photoshop, and paste it as a shape layer.

Paste your path as a shape layer.
Paste your path as a shape layer.

If your shape ends up a mess, that means you didn’t tidy the vector graphic properly.

Align Forces

When you paste the icon in Photoshop, it might look something like this:

When you paste the icon in Photoshop you will probably see those gray pixels around the shape.7
When you paste the icon in Photoshop you will probably see those gray pixels around the shape. (View large version8)

When you zoom in close on the icon, you will probably see those gray pixels around the shape. Those “partial pixels” occur if a shape does not fill an entire pixel. We don’t want any of those.

We want to start working from a 1x version of the icon because, when tidied up properly, you will be able to scale this version up to 2x and 3x without any problems. If you did the original design in 2x, then you’ll need to scale the shape down to 50%.

Now it’s time to align the horizontal and vertical lines to the next full pixel. It’s OK if curves and diagonal lines don’t fill up entire pixels.

Use Photoshop’s Direct Selection tool to mark a group of misaligned anchor points, and use the arrow keys to move these points between two pixels.

Note: The closer you are zoomed in (use Option + Shift + mouse wheel), the more precisely you will be able to move the anchor points.

The anchor points of the bottom and the right side are now aligned to the pixel grid
The anchor points of the bottom and the right side are now aligned to the pixel grid.
All partial pixels are gone.
All partial pixels are gone.

Do A Check-Up

Now, make sure all anchor points are on the grid by scaling your 1x version up to 500%. If you see partial pixels, then align them as described above. If everything checks out, then scale the shape down to 20%.

Remember: From now on, you should always scale proportionally from the upper-left corner, and always make sure that the X and Y values are round numbers.

If you see partial pixels, then align them as described above.9
If you see partial pixels, then align them as described above. (View large version10)

Scale It

Let’s see how different resolutions of our icon work out. Select the 1x version (V, then Command + mouse click), and duplicate the icon (Option + click and drag) to a position next to the 1x version.

Scale the duplicated icon up to 200% proportionally from the upper-left corner. The 2x version should show no new partial pixels. It should only be bigger.

To keep things simple, we will assume you are happy with the 1x and 2x versions and that you now want to see the 3x one.

Duplicate the 2x version (Option + click and drag), move it off to the side, and then scale it up by 150%. (So, 200% × 150% = 300%)

Later in this article, I’ll tell you what to do if you are not happy with the results. But if you are happy with the 2x and 3x versions, then you know now that 2x and 3x versions can be generated from the 1x version without any problems.

Go ahead and delete the 2x and 3x versions — we will be generating them automatically.

Generate And Enjoy

Photoshop has a built-in tool called “Generator” that automatically renders a shape layer to multiple image versions. To do that, we have to create a layer group and give it a special name: the file name and scale factor for each version.

In this case, it should look like this: cover.png, 200% cover@2x.png, 300% cover@3x.png

The commas separate the versions, and the percentage tells Photoshop the amount of scaling.

The commas separate the versions, and the percentage tells Photoshop the amount of scaling.11
The commas separate the versions, and the percentage tells Photoshop the amount of scaling. (View large version12)

Now, activate Generator.

Activate Generator.13
Activate Generator. (View large version14)

Generator will create a folder next to your PSD file and will automatically save PNG files to it when you save the Photoshop document.

Generator will automatically save PNG files when you save the Photoshop document.15
Generator will automatically save PNG files when you save the Photoshop document. (View large version16)

To add a new scale factor at a later point in time, you simply have to alter the layer’s file name.

Get Creative For Different Resolutions

Modifying artwork for different scaling factors is a common practice because you can show more detail in a 2x graphic than you can in a 1x version.

In the following example, the 1x version of the icon contains just a single eighth note, whereas the 2x version contains a beamed note.

Create different icons for different resolutions.17
Create different icons for different resolutions. (View large version18)

Obviously, you wouldn’t delete the 2x version because it is different from the 1x. Create an extra group for the 2x version, and give it a layer name that is compatible with Generator. Because you’ve already scaled the 2x version in Photoshop, don’t add “200%.”

To end up with a 3x version after working in 2x, you’ll have to scale by 150%. So, you would add this number to the 3x file name.

To end up with a 3x version after working in 2x, you'll have to scale by 150%.19
To end up with a 3x version after working in 2x, you’ll have to scale by 150%. (View large version20)

Size Matters

Making the 2x versions of your assets exactly two times larger than the 1x assets is absolutely critical. Sometimes this is harder to do than you think. Consider this keyboard:

Making the 2x versions of your assets is sometimes harder to do than you think.21
Making the 2x versions of your assets is sometimes harder to do than you think. (View large version22)

For the 1x version (the smaller keyboard on the left), I decided that 1-pixel-wide black keys were to thin, so I used 2 pixels.

When you scale that version up (marked in pink in the keyboard on the right), you end up with black keys that are 4 pixels wide, which looks a little too wide.

But with 3-pixel-wide keys, the distance between all of the keys changes. To keep everything symmetrical, we need to make the keyboard 1 pixel shorter. And because we can’t scale 3 pixels by 1.5 without ending up with fuzzy graphics, we also need a special 3x version.

To fix the export size of our 2x asset, we can add a layer mask. Generator will always use the dimensions of a layer mask if one is present.

To fix the export size of our 2x asset, we can add a layer mask.23
To fix the export size of our 2x asset, we can add a layer mask. (View large version24)
Generator will always use the dimensions of a layer mask if one is present.25
Generator will always use the dimensions of a layer mask if one is present. (View large version26)

Summary

Hopefully, the methods described here will simplify your workflow. As you can see, creating pixel-perfect assets for different screen sizes and densities isn’t such a chore when you use vector graphics to your advantage and let Photoshop do the grunt work.

Downsides of This Approach

  • Assets are stored at 1x in the Photoshop file.

Upsides of This Approach

  • Create multiple image assets from a single shape layer, potentially saving yourself a lot of time in the future.
  • Icons are all in one document.
  • Generating assets for other scale factors from your PSD becomes easy for other people.
  • Seeing which resolutions of an icon need special attention becomes easy for other designers.

(ml, al)

Footnotes

  1. 1 http://www.smashingmagazine.com/wp-content/uploads/2014/10/01-photoshop-settings-opt.png
  2. 2 http://www.smashingmagazine.com/wp-content/uploads/2014/10/01-photoshop-settings-opt.png
  3. 3 http://www.smashingmagazine.com/wp-content/uploads/2014/10/02-move-tool-opt.png
  4. 4 http://www.smashingmagazine.com/wp-content/uploads/2014/10/02-move-tool-opt.png
  5. 5 http://www.smashingmagazine.com/wp-content/uploads/2014/10/03-pathfinder-opt.png
  6. 6 http://www.smashingmagazine.com/wp-content/uploads/2014/10/03-pathfinder-opt.png
  7. 7 http://www.smashingmagazine.com/wp-content/uploads/2014/10/05-blurry-asset-opt.png
  8. 8 http://www.smashingmagazine.com/wp-content/uploads/2014/10/05-blurry-asset-opt.png
  9. 9 http://www.smashingmagazine.com/wp-content/uploads/2014/10/08-scale-opt.png
  10. 10 http://www.smashingmagazine.com/wp-content/uploads/2014/10/08-scale-opt.png
  11. 11 http://www.smashingmagazine.com/wp-content/uploads/2014/10/09-layer-naming-opt.png
  12. 12 http://www.smashingmagazine.com/wp-content/uploads/2014/10/09-layer-naming-opt.png
  13. 13 http://www.smashingmagazine.com/wp-content/uploads/2014/10/10-asset-generator-opt.png
  14. 14 http://www.smashingmagazine.com/wp-content/uploads/2014/10/10-asset-generator-opt.png
  15. 15 http://www.smashingmagazine.com/wp-content/uploads/2014/10/11-finder-opt.png
  16. 16 http://www.smashingmagazine.com/wp-content/uploads/2014/10/11-finder-opt.png
  17. 17 http://www.smashingmagazine.com/wp-content/uploads/2014/10/12-asset-canvas-opt.png
  18. 18 http://www.smashingmagazine.com/wp-content/uploads/2014/10/12-asset-canvas-opt.png
  19. 19 http://www.smashingmagazine.com/wp-content/uploads/2014/10/13-layer-naming-opt.png
  20. 20 http://www.smashingmagazine.com/wp-content/uploads/2014/10/13-layer-naming-opt.png
  21. 21 http://www.smashingmagazine.com/wp-content/uploads/2014/10/14-keyboard-problem-opt.png
  22. 22 http://www.smashingmagazine.com/wp-content/uploads/2014/10/14-keyboard-problem-opt.png
  23. 23 http://www.smashingmagazine.com/wp-content/uploads/2014/10/15-vector-mask-opt.png
  24. 24 http://www.smashingmagazine.com/wp-content/uploads/2014/10/15-vector-mask-opt.png
  25. 25 http://www.smashingmagazine.com/wp-content/uploads/2014/10/16-vector-mask-layer-opt.png
  26. 26 http://www.smashingmagazine.com/wp-content/uploads/2014/10/16-vector-mask-layer-opt.png

The post Ready For Retina HD: Create Pixel-Perfect Assets For Multiple Scale Factors appeared first on Smashing Magazine.

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Taking A Closer Look At Tech Conferences: The Nitty Gritty Details (A Study)

October 14th, 2014 No comments
Conference Sizes

As I was flying back from the Smashing Conference in New York, I wondered whether it was a success. This wasn’t an original thought. We are always wondering what makes a conference good and what elements will make industry workers stay away.

Good and bad are such subjective terms, though, with almost as many expectations as there are attendees. We decided that just looking at the numbers instead might be a good idea. This article will not present best practices for planning a conference1, but rather will look at how it’s actually done most of the time. While this is not a guide to putting together the perfect conference, it gives a good overview of what seems to work and which elements are so unpredictable that they do not serve as reliable guidelines.

The Aspects Considered

I analyzed the statistics of about 85 different conferences. I looked all over the world, looking at everything from big well-known events to small non-profit community meetings. I chose conferences that have been around for years and that have features that set them apart from other events.

Some of the data is straightforward, such as dates, number of speakers, tracks and workshops. Other aspects yielded much more varied and specific data (such as themes and technical considerations). And some are plainly controversial (gender of speakers). So, I’ll present some fairly solid figures about some aspects, and convey just a sense of the variability of others. You can find the results in this PDF2.

The Questions

  1. How many speakers were invited to the conference?
  2. How many days did the conference last?
  3. How many tracks were offered?
  4. How many workshops were linked to the conference?
  5. How long did individual sessions last?
  6. How long were the workshops?
  7. How much did the conference cost?
  8. How much did the workshops cost?
  9. How many people attended?
  10. What were the technical details? (Was there Wi-Fi? Were videos made available?)
  11. In which month did the conference take place?
  12. Was the theme a popular one?
  13. Which country hosted the conference?
  14. In what kind of venue did it take place?
  15. How high was the percentage of female speakers?

First, a few things regarding the statistics. I will compare both the average and the median, because the discrepancies are at times pronounced. The median lists all values of the data set and picks the middle value. It’s therefore not influenced by extreme values, and gives better information about the real data distribution. The average value is the sum of the sample data divided through the number of values. It’s influenced by extreme values and therefore gives only information about the data distribution in theory. The difference will become clear by directly comparing the figures.

Conference Size

Anyone who is interested in organizing a conference or just attending one will notice that conferences are run in two very different styles. This has a huge impact on scale (number of speakers, choice of tracks, length of conference).

Some conferences, such as TYPO3 Conference 2013163, with its 65 speakers and multiple tracks, aim for large audiences and maximum information propagation. Others, such as the Smashing Conference4, have only around 18 speakers and a single track and set out to create a community experience. Two styles, two different goals.

The data shows a clear tendency towards smaller conferences, most likely for the simple reason that organizing a big conference is much more costly and restrictive in some ways than a smaller one.

  • Median number of speakers per conference: 19
    This median indicates that more than half of the conferences analyzed were fairly compact community events.
  • Average number of conference speakers: 31
    This shows by how much the average is skewed by the few very large events when compared with the median.
  • Median number of tracks: 1
    This is a fairly logical progression from the median number of speakers. Small conferences tend to stick with single tracks.
  • Average number of tracks: 1.9
    This average implies that two tracks are the norm. While the difference between one and two tracks seems negligible, it is anything but. A single-track event demands fewer compromises than multi-track events from both attendees and organizers. Attendees don’t have to worry about overlapping topics, speakers and interests, while organizers can set up the event days exactly as they want. On the other hand, multi-track events give attendees much more flexibility and a wider range of networking opportunities.
  • Median number of conference days (workshop days included): 3
  • Average number of conference days (workshop days included): 2.7
    Conferences rarely last longer than four days. The lower average reflects the lower number of conferences that are longer than the median.
There is a clear tendency towards smaller conferences.

Back To School

This indirectly brings us to the topic of workshops. Most events offer a certain number of workshops, usually around the conference days. Only 9% of conferences do not feature any workshops. Combining standard talks and workshops makes a great deal of sense for both organizers and attendees (and their employers!). The combination reduces yearly travel time to training events for attendees, and it spares employers’ pursestrings from the added travel expenses of repeated training excursions.

Conferences that do feature workshops around the event average five full-day workshops; the median, however, drops down to three full-day workshops. This number is not completely arbitrary. Organizers should plan according to the number of attendees expected, keeping in mind that not all of them will attend the workshops. It comes down to the desirability of the workshops, which is a difficult variable to accurately evaluate. The theme, speaker and geography come into play, in ways that are not always easy to discern.

Finally, not to be forgotten are two-hour half-day workshops and “lightning talks.” These are fairly popular, especially at big conferences. Some small conferences also prefer to feature a lot of half-day workshops, instead of highly visible full-day ones. Altogether, 13% of conferences feature short workshops, either next to the full-day ones or exclusively.

The Cost Of Learning

Evaluating conference and workshop prices is quite tricky because the spectrum is quite wide and is determined by different variables, including sponsorship deals and regional standards. A detailed analysis of the motivations behind setting a certain price for an event is beyond the scope of this article. Keep in mind that the numbers below are merely an approximation because I couldn’t find data for all of the conferences that I reviewed. Additionally, several conferences have a one-price-fits-all approach, including workshops in the conference price.

The average and median costs of workshops are very close, at $311 for the former and $307 for the latter (US dollars). This make perfect sense because the costs of workshops vary only according to the duration of the events. A few outliers are worth mentioning because of the regional considerations. Meta Refresh 20145 in India, for example, offers four half-day workshops at the relatively low price of $49 for both days. Reasons to be Creative6 in the UK comes to $501 to $669 per workshop, which is fairly standard for the UK.

Conferences are less predictable. The average and median are quite close, with the former at around $420 and the latter around $349. This, however, is a skewed representation of conference costs. For one, early-bird prices differ significantly from latecomer rates. Also, included in both figures are all conferences prices, without differentiating between one- and multi-day conferences.

Conference costs
Conferences mostly seem to cost between 300 and 400 USD.

Comparing the prices of conferences and workshops to those of other events in the same country might be more telling. This would give a good indication of whether the prices are reasonable.

We The People

Despite our figures here being very spotty, the average (840) and the median (500) number of attendees differ greatly. I would attribute this discrepancy to missing data. However, despite the spotty data, I suspect that the actual average is very close to the median that I calculated, simply because the majority of conferences reviewed here are small single-track events.

The Technical Side

There is insufficient data to make any definitive conclusions about the technical aspects of conferences. Still, several features seem to recur at almost every conference.

On the websites of the 84 conferences in this study, 14 specifically mention that they offer Wi-Fi access to attendees, and 32 promise to release videos of the talks and workshops on their website or on their YouTube or Vimeo channel.

Interestingly, despite many events offering Wi-Fi access, reliability is usually so difficult — or expensive — to guarantee that some conferences (such as Blend7) state up front that Wi-Fi access is not provided, even going so far as to prohibit devices entirely. The rationale is that the presence of devices and the cost of Wi-Fi detracts from the quality and enjoyment of the talks; some hand out pen and notebooks instead. This approach does have some merit because it frees organizers to focus on curating their themes and speaker.

The Ephemera

Finally, let’s quickly look at some figures that are relevant but difficult to evaluate: conference themes, supporting events, location and gender. These factors are mostly determined according to either convenience or the subjective perspective of the organizers.

Themes

Themes are plentiful in this industry, ranging from UX design and development tools to marketing and commerce. This chart8 shows some of the most common themes, but keep in mind that these fluctuate as our industry rapidly evolves.

Events That Round Out the Conference Experience

These are a staple. For more than 50% of conferences, this means parties. And this is the one area where organizers can get as crazy and imaginative as their budget allows. You’ll find everything from mundane and marginally productive networking parties with drinks to enthusiastically creative affairs (such as Build9‘s). Some employers, the ones footing the bill, might find this to be over the top. A more psychological study might examine the value of associating pleasurable social experiences with work, but that is beyond the scope of this article.

After-parties are where — to paraphrase Pat Allen10 — organizers often make mistakes. From experience with organizing them, I know how important it is for the background music not to interfere with the conversations. Organizers should know that venues tend to get this wrong; many venues can’t seem to believe that large congregations of people don’t automatically want to “get down and boogie.” At the first Smashing Conference’s after-party, I found myself running to the DJ every half hour to ask him to turn down the volume, which would mysteriously and gradually return to the same deafening level. I insisted repeatedly that just because some of the attendees were swaying to the music while talking did not mean they were eager for a rave, but neither the venue’s manager nor the DJ seemed to grasp this.

While a few conferences focus mostly on the basic content, most offer additional experiences, most likely reflecting the idealism of their organizers. For many conference enthusiasts — including organizers — a key function of conferences is to unite the web design and development community. This is often reflected in the wording of promotional materials (“Let’s get together in the company of a few friends11”).

Some discussion lately has focused on reevaluating these traditional events, such as after-parties, which some argue betray some insensitivity. For instance, alcohol is, to put it mildly, not everyone’s cup of tea. As Sara Soueidan explains12 in an interview for CSSconf EU, that is a reason why some attendees or speakers do not attend certain events. JSConf US 201413 provides bikes for people who want to explore the area, and it even offers a “Significant Other Track” for the families of attendees. There are definitely alternatives to the traditional approaches that generate a different ambience.

Locations

Below are some figures related to location.

  • 52% of conferences are in Europe, 38% in the Americas, 6% in Asia, 3% in Australia and New Zealand. None are in Africa!
  • 34% are set in the US, more than half in the east (see map).
  • 18% take place in the UK.
  • 14% are set in Germany.
  • Just one is set in Southern Asia (India), and one (not on the list) in Southeast Asia (Philippines).
  • The five biggest conference cities on the list also host the most conferences for their region.
  • Among the five biggest cities are the three cities that host the most conferences (New York, London and Berlin).
  • The fourth most-frequented city, however, is also one of the smallest on the list. With only 156,000 inhabitants, Brighton is only more populous than Faenza, Columbia and Osijek.
The US and EU are the two hottest spots for web conferences.
The US and EU are the two hottest spots for web conferences.
The size of the city doesn't seem to be the deciding factor for choice of location, but it is relevant.
The size of the city doesn’t seem to be the deciding factor for choice of location, but it is relevant.

Gender

I’ll devote very short space to the statistics for the most controversial topic of this study, gender. While a gender count among attendees has proven to be impractical, I was able to count — by hand! (never has a more repetitive endeavor been undertaken since Sisyphus’ boulder roll) — the number of male and female speakers at almost all conferences. I found that 22% of speakers were female. Or, to put in in hard numbers, the median number of speakers at the conferences was 19. Of those, 5 were women.

This subject has been heavily discussed in the IT press recently, with some of the biggest tech firms disclosing their gender-related statistics. According to John Mindiola in an article from 201014, 82.6% of web designers are male. The figures for conference speakers reflect this general trend.

However, while this is the current reality, the issue has reached popular awareness, leading some organizers to actively try to incorporate an equal number of male and female speakers. Such efforts are not only attributable to small conferences either, which can pick their speakers much more carefully; colossal events such as WebTech Conference 201315 and TYPO3 Conference 2013163 are trying to even out the playing field, too (see study PDF).

Gender disparity in the web industry is not a myth. That being said, the percentage of women in content-generating areas is higher than that of men. And while the area of web development boasts a frighteningly antiquated male-dominated environment17, many hope that conferences — being the public face of the industry — will lead by example.

Conclusion

To sum up (pardon the pun), the majority of conferences are small, with around 20 speakers. Most are single-track events, except for those that are 10-plus-track affairs. Many offer workshops to round out the experience. The events usually cost around $500 and offer a slew of fun activities to complement the learning experience, following the proud tradition of “work hard, play hard.”

The full range of the web industry’s work is covered, although the latest advances are getting the most attention, such as the mobile web. Most conferences take place in the EU, but the US hosts the most events of any single country. Finally, the web industry still needs to work on the male-female disparity, which is reflected in the ratio of female-to-male speakers at conferences.

(ml, al)

Front page image credits: Marc Thiele18.

Footnotes

  1. 1 http://www.smashingmagazine.com/2014/08/15/plan-and-run-a-great-conference/
  2. 2 http://www.smashingmagazine.com/wp-content/uploads/2014/10/conferences.pdf
  3. 3 http://t3con13de.typo3.org/
  4. 4 http://smashingconf.com/
  5. 5 https://metarefresh.in/2014/
  6. 6 http://reasons.to/
  7. 7 http://www.blendconf.com
  8. 8 http://www.smashingmagazine.com/wp-content/uploads/2014/10/conferences.pdf
  9. 9 http://2013.buildconf.com/
  10. 10 http://freelancing-gods.com/tags/conference
  11. 11 http://2013.buildconf.com/
  12. 12 http://2014.cssconf.eu/news/meet-the-cssconf-speakers-sara-soueidan
  13. 13 http://2014.jsconf.us/schedule.html
  14. 14 http://www.smashingmagazine.com/2010/11/12/gender-disparities-in-the-design-field/
  15. 15 http://webtechcon.de/2013/
  16. 16 http://t3con13de.typo3.org/
  17. 17 http://archive.aneventapart.com/alasurvey2011/01.html
  18. 18 https://www.flickr.com/photos/marcthiele/14444487112/in/set-72157644792424680

The post Taking A Closer Look At Tech Conferences: The Nitty Gritty Details (A Study) appeared first on Smashing Magazine.

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Make a Dent: 40 of the Best Cinema 4D Tutorials

October 14th, 2014 No comments

If you are a 3D artist you are surely aware of the fact that Cinema 4D is a powerful, almost almighty tool. Combine it with Photoshop and you’ll get even more super powers. From creating 3D models to adding textures and animating the result – there is not much we cannot do. In this article we have collected 40 of the best tutorials to help you make a dent – probably not in the universe, but here where your potential customers can see it…

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Wayfinding For The Mobile Web

October 13th, 2014 No comments
The hierarchical tree model usually manifests in a horizontal navigation bar, often with a single or multilevel drop down menu.

When designing mobile first, navigation takes a back seat to content, and ruthless editing paves the way for more focused experiences. The pursuit of simplicity, combined with the tight spatial constraints of mobile viewports, often leads us to strip away elements in an attempt to minimize the interface. But the space-saving convenience we gain through clever editing and a compact UI can come at the expense of the very navigational aids our users rely on.

To help balance the craving for visual simplicity with the need to keep websites easy to navigate, we can borrow some concepts from the world of wayfinding. This article shows how you can apply these concepts to the mobile web.

The Importance Of Wayfinding

As the name implies, wayfinding is how we make sense of our surroundings and navigate the space around us. We continually rely on cues in our environment to orient ourselves and figure out where we’ve been and where to go next. If you’ve ever flown, recall the experience of stepping off the plane in an unfamiliar airport. It may have gone something like this:

  1. You pause at the gate and glance around to quickly survey your surroundings.
  2. You observe which direction most people seem to be walking in and start heading in that direction.
  3. As you begin walking, your attention darts from one sign to another, scanning for any symbol or text that resembles “baggage claim” or “ground transport” and ignoring anything that doesn’t match either of those.
  4. Once you feel like you’re headed in the right direction, your attention relaxes and you begin to pay attention to any shops or restaurants that you might want to return to the next time you’re at the airport.

The way that people orient themselves in digital spaces is not so different from how they find their way around in the real world. Our ability to focus shifts according to whether we’re on the hunt for information or recreationally browsing. We even experience the same emotion and sense of frustration when we’re lost or struggling to reach our intended destination.

Following are three wayfinding concepts that can be incorporated into mobile and responsive designs to help your visitors navigate with more ease.

  1. Circulation systems
    The infrastructure that allows people to move around within a space
  2. Spatial cues
    The observable qualities of a space that help people make sense of their surroundings
  3. Signage
    Instructional signs, symbols and iconography to guide people

Circulation Systems

When moving through a town, the streets and sidewalks are the pathways we use to get from one point to another. Within a building, we might rely on stairways and corridors to make our way around. A variety of routes often coexist, giving people multiple options for reaching their destination. The network of available pathways forms the circulation system of a space. On the web, circulation systems are shaped by navigational structures. The most familiar one is the hierarchical tree menu, a model synonymous with widescreen desktop design.

Hierarchical Tree

This type of top-down categorical tree is the de facto convention for information-rich websites. Users can access top-level (parent) navigation and local (sibling) content. This is advantageous in that it provides many different routes for users to explore.

1
The hierarchical tree model usually manifests in a horizontal navigation bar, often with a single or multilevel dropdown menu. (View large version2)

This model has the tendency to become link-heavy, making it well suited to large screens but potentially cumbersome when packed into the confines of a small screen. Rather than trying to squish expansive menus onto itty-bitty mobile screens, designers have been exploring the concept of unfolding experiences, a term designer and researcher Rachel Hinman3 uses to describe systems that progressively reveal information to users. As you plan a circulation system for your website, consider how you might be able to incorporate the following “unfolding” patterns:

Nested Doll

Nested doll navigation is a linear menu pattern that is conventional in mobile web apps. Users incrementally tap or swipe to reveal additional menu options as they traverse up and down through the site map. Funnelling users from broad overview pages to detail pages helps them hone in on what they’re looking for and focus on content within an individual section. This approach is well suited to small screens, but comes at the expense of easy lateral movement across sections.

4
With the nested doll navifation, users incrementally tap or swipe to reveal additional menu options as they traverse up and down through the site map. (View large version5)

Hub and Spoke

This model utilizes a central screen that acts as the launchpad for exploration. Links point outward to other sections of the website or independent applications, each siloed from the others. To move from one section to another, you must first jump back to the hub. This home-screen approach eliminates the need for global navigation on each page, making it a popular choice for task-based applications that benefit from focus and minimal distraction.

The hub and spoke utilizes a central screen that acts as the launchpad for exploration.6
The hub and spoke utilizes a central screen that acts as the launchpad for exploration. (View large version7)

Bento Box

The bento box model is a dashboard-style application that pulls in dynamic components and information. Most interactions occur in the context of a single multi-purpose screen that unfolds to reveal layers of additional information. This is a popular choice for websites on which users interact with data aggregated from a variety sources.

The bento box model pulls in dynamic components and information.8
The bento box model pulls in dynamic components and information. (View large version9)

Filtered View

Unlike dashboards, which provide a control center for interacting with a variety of data, filtered view systems deal with a single data set. Information may be explored from multiple perspectives, with a variety of views and sorting options controlled by the user.

Filtered views are seen in music apps, directories and other interfaces in which people navigate large volumes of data10
Filtered views are seen in music apps, directories and other interfaces in which people navigate large volumes of data. (View large version11)

Combining Systems

Even with nice styling and transitions, the bulkiness of traditional navigation systems can feel kludgy on small touch-enabled screens — especially when compared to the elegant, immersive interactions associated with native applications. Trying to shoehorn an information-rich website into an app-like navigation system might be too constraining, yet adopting a fully hierarchical model might be overkill. Fortunately, the models need not be mutually exclusive.

One of our recent projects involved working with a healthcare organization to centralize their content and online tools under a single website. We initially started down the path of building a hierarchical site map that included a section for all of the members-only content. We also toyed with the idea of introducing an additional menu on the website: the public navigation as well as navigation that appears for logged-in members.

This felt more complex than it needed to be and would have been tricky to organize on small screens. Recognizing that current members have very little need for marketing-heavy public content, we ended up dropping all public menus from the members section. And because members were coming to the website primarily to access a few key applications, they benefited from moving away from a hierarchical content structure and toward a hub-and-spoke model with a home screen that would launch their various online tools.

Rather than stick with a single information-architecture model and nest members-only content within the overall content hierarchy, we saw that a hub-and-spoke approach to the members center made sense12
Rather than stick with a single information-architecture model and nest members-only content within the overall content hierarchy, we saw that a hub-and-spoke approach to the members center made sense. (View large version13)

This turned out to be a big departure from our original plan to create a global header and footer that spanned the entire website, but it permitted us to design a system that was both lean and simple to navigate. This still left us with the challenge of making the transition between public and members content as seamless as possible. We turned to spatial cues to build continuity across the interface.

Spatial Cues

If circulation systems represent the paths that enable people to get to where they want to go, spatial cues are the recognizable qualities of the space that help them orient themselves and that illuminate available paths. Designers rely on a few powerful spatial cues to help users find their way.

Landmarks

A landmark is any remarkable, unique or memorable object you observe in your surroundings. Some landmarks are visible from a distance and help you figure out where you are based on your position relative to them. For example, Chicago is home to one of the world’s tallest skyscrapers, the Willis Tower. If at any point you become disoriented while exploring the city, you need only scan the skyline and compare your relative position to the tower to get a sense of where you are and which way is which. Other landmarks just line your route, helping you find your way to and back from a particular place. Landmarks help us define and make sense of space. The degree to which we rely on landmarks is evidenced by how we offer directions: “Turn left at the fork in the road,” or “Continue straight three blocks until you reach the Starbucks, and then hang a right.”

In UI design, a landmark is any consistently positioned or notable element that helps visitors orient themselves. Some examples of global elements (i.e. visible throughout a website) are:

  • Logo
    For returning to the home screen easily
  • Primary navigation
    Quick access to primary landing pages, enabling users to pivot and explore other sections.
  • Breadcrumbs
    reinforces current location within the system and acts as a ladder to traverse up the site map
  • Search
    Provides reassurance and an alternate way to seek information when users don’t want to backtrack or continue browsing

Other landmarks might appear only in certain places, helping visitors distinguish where they are within a particular section of the website:

  • Section banners
    Reinforces which section user is in
  • Section navigation
    Access to similarly categorized content
  • Unique templates or components (slideshows, galleries or event calendars)
    Visually identifiable points that users might remember passing and try to return to

This alone is pretty straightforward stuff. It gets interesting when you factor in multiscreen behavior and adaptive design. You see, as website visitors peruse your website, they are constructing a mental map of all the identifiable landmarks they encounter. Data shows that many interactions occur over time and across devices. If the landmarks in your interface appear drastically different from one breakpoint or device to another, then you risk disorienting users. On the other hand, if you intentionally build continuity into the UI, persisting recognizable qualities of those landmarks across all screen sizes, then you’ll foster a more familiar, intuitive experience for returning visitors. You can increase continuity of landmarks in your design by examining how UI elements adapt across breakpoints:

  • Position
    Do they retain their relative page position, or do they jump around?
  • Form
    Do items retain their form or transform into something totally different?
  • Color
    Do foreground and background colors stay the same or switch?
  • Priority
    Do the most prominent page components retain their proportional visual weight across screen sizes, or does the hierarchy change?
  • Visibility
    Are visible things still revealed and hidden objects still concealed?
United Pixelworkers' website has continuity between landmarks across breakpoints. The logo is red in the top left, the navigation is in a black bar along the top, and you can always access the cart from the bright blue button in the top right—no matter which size screen you visit from!14
United Pixelworkers’ website has continuity between landmarks across breakpoints. The logo is red in the top left, the navigation is in a black bar along the top, and you can always access the cart from the bright blue button in the top right — no matter which size screen you visit from! (View large version15)

Cleverly adapting the UI to best fit the available screen size or viewport is a worthy goal. Just keep in mind that each adaptation creates a new environment that your users must orient themselves to. While adaptation is a necessity, balance it with an equal focus on continuity.

Edges

Edges demarcate the end of one object or section and the beginning of another. In the world around us, we are surrounded by geographic boundaries, like mountains, shorelines and tree lines, as well as man-made ones designed to compartmentalize our environment, like fences and walls. In UI design, clearly defining the edges of regions and objects can more quickly familiarize users with an interface. Boundaries help to demarcate things on a website, such as chrome from content, primary navigation from secondary navigation, and global tools from page-specific functions. At a micro level, edges help define the boundaries of tap targets and separate individual blocks of content.

Foursquare's app (left) packs a lot of tappable items into a small space. Yummly's app (right) uses distinct interface edges to define button tap targets and to visually separate the masthead region from the content area and to distinguish between individual recipes16
Foursquare’s app (left) packs a lot of tappable items into a small space; clearly defined button boundaries improve scannability and minimize mis-taps. Yummly’s app (right) uses distinct interface edges to define button tap targets and to visually separate the masthead region from the content area and to distinguish between individual recipes. (View large version17)

When designing for wide screens, we can rely on white space and columns to delineate content boundaries. When dealing with narrow viewports, we have less space to compose columns and to utilize white space to effectively differentiate sections of a page. We can reclaim the usable benefits of edges in small-screen scenarios by:

  • providing obvious visual cues to suggest the active tap target area of links and buttons,
  • using shifts in background color or strong borders to distinguish template regions.
Defining edges by using horizontal dividers or shifts in background color can provide important visual cues to distinguish one region of content from the next .18
Defining edges by using horizontal dividers or shifts in background color can provide important visual cues to distinguish one region of content from the next (for example, separating main content from related links). (View large version19)

Signage

Signs are visual aids that provide instruction to people at decision points within a space. Signs communicate through pictographic or typographic elements. In our interfaces, most non-content elements play the role of signage. Elements such as labels, buttons, pagination, menus and calls to action all act as signs. Because symbols tend to take up less space than written text, they are heavily used in mobile design. Because people process images and text differently, designers need to consider certain factors when deciding how and when to use one or the other. Let’s take a quick look at how to use icons effectively.

Using Icons

Icons can be an effective way to communicate information and highlight navigation options while conserving space within the tight confines of a small screen. Universally recognizable symbols can also overcome language barriers, making an interface more globally accessible.

While icons might appeal to aesthetic sensibilities and provide a great solution for visually organizing your interface, they also have the potential to introduce impediments to usability.

Icons work great when they are familiar and obvious, leaving no room for misinterpretation. But even many of the most commonly used icons have multiple meanings. Consider the following icons, which at first seem innocent. What does each represent?

Because they often have multiple meanings, even simple icons can be ambiguous.20
Because they often have multiple meanings, even simple icons can be ambiguous. (Image credit: IcoMoon21) (View large version22)
  • Pencil
    Write or edit?
  • Plus
    Add item or expand?
  • Minus
    Remove item or collapse?
  • x
    Close or delete?
  • Magnifying glass
    Zoom or search?
  • Caret
    Play, go or slide right?

As we see, even in simple scenarios, icons can be ambiguous. Meanwhile, the allure of a minimal UI tempts many a designer to use icons to represent far more complex concepts. This again challenges us to weigh the value of saving space against the importance of comprehensibility of the interface. Even if the icons are ultimately decipherable, the act of interpreting them increases the cognitive load on the user. This introduces friction to the decision-making process and could impede navigation.

Text Labels

In contrast to icons, well-written text labels can leave less room for misinterpretation, thus resulting in less cognitive load on the user.

Compare the following two screenshots, both of which pair icons with text. The first example focuses first and foremost on the icons, whereas the second places emphasis on text labels.

The University of Delaware uses mainly icons (left). Walmart emphasis on text labels.23
The University of Delaware uses mainly icons (left). Walmart emphasis on text labels. (View large version24)

The abstract nature of the graphics demands a fair amount of interpretation, and the accompanying text is harder to scan, partially because of the grid arrangement and partially because of the type’s size. Keep in mind that, with mobile devices, the text is likely to be viewed at arm’s length and with the person and device possibly in motion. In the second example, labels assume focus. The left alignment of text provides a straight reading line down, making it easier to scan and compare navigation options. Here, icons are used to supplement text. Because we process images quickly, once a user has learned what a symbol means, their future interactions will be expedited through recognition (i.e. associating the image with the link it represents).

The previous example also assumes two things. The first is that the text labels are indeed well written. Unclear text can be just as detrimental to navigation as ambiguous iconography. The second assumption is that the visitor is a first-time user. Once a person has learned the positions and meanings of the icons in the first screenshot, the cognitive load will decrease and the interface will have become familiar and, therefore, easier to use.

This aligns with research conducted by User Interface Engineering25, which found that:

  • text and images work better than just text;
  • text alone works better than images alone;
  • icons are learned, but icon positions are learned faster (so, if your favorite app gets a new icon, you won’t be confused; but if someone jumbled the positions of apps on your phone’s home screen, you’d be driven crazy).

Visibility and Decision-Making

Another conflict between graphics and text arises when you’re determining how to present a list of products. An advantage to displaying images is that they help the user visually differentiate between options. Because product images take up more space than their text counterparts, the number of items visible within the viewport will be reduced. So, which is more important, showing more detail for each option or showing more options in a single view?

When category distinctions are obvious, the addition of visual cues (such as product images) minimally benefits usability. The main objective is to show options and make it easy for the user to scan and compare those options. In these scenarios, titles alone might be the best choice because comparing items is easier to do when you can see all (or most) of your options at once. If visitors must scroll or swipe to see their options, they’ll be forced to rely on memory, comparing what’s currently in view with what was previously in view.

On the other hand, for products that are similar to each other, images would help users to better distinguish between them. In this case, differentiating between items might be more important than comparing items within a single view.

Using images to display category information takes up more space, resulting in fewer categories fitting in the viewport.26
Using images to display category information takes up more space, resulting in fewer categories fitting in the viewport. Although less visually appealing, a simple text list of categories is easier to scan and select from. When browsing individual products, however, product images and visual detail play an important role in helping users to distinguish items. (View large version27)

Paving Your Paths

What’s in and out of view is critical to how people find their way. The answer to “Where can I go from here” is shaped by the routes that the user can easily perceive. The most highly trafficked routes (or the ones you want to drive the most traffic through) should be made most visible. Less-traveled routes can afford to be less overtly marked. Whether a navigation system is the primary or secondary one is an important consideration, and it needs to be prioritized as such in the UI. Does the visual prominence of your navigation map to the navigation’s actual priority?

Route Visibility and Hidden Menus

Many popular mobile navigation conventions involve hiding and showing menus. This technique relies on a menu button (often the infamous hamburger icon) that triggers the appearance of a menu, either by toggling open a panel or pushing in navigation from off canvas. Debate persists about whether the hamburger icon is universally recognized as a symbol to represent a menu. It’s potential ambiguity aside, the debate overlooks a larger concern: Even if people recognize it as a cue to summon a menu, the menu options are initially hidden, and so those routes are obscured.

Users following the scent of information will scan the screen for trigger words: text that maps to the words or phrases in their mind that describe what they’re looking for. On wide screens, when navigation is exposed, those trigger words are visible and increase the likelihood that users will spot them and click through. Assuming that your primary navigation menu has concise, mutually exclusive and familiar labels, by storing them out of view, you are concealing those powerful trigger words and in effect obscuring the primary navigation routes.

Responsive and mobile navigation patterns that conceal and reveal your menu items help keep content the focus of the UI.28
Responsive and mobile navigation patterns that conceal and reveal menu items keep content as the focus of the UI. Just be aware of what trigger words you’re also hiding. (View large version29)

Compare this to the “skip to nav” pattern, in which a menu icon scrolls the user down to a menu anchored at the bottom of the page. In this model, the button still affords quick access to the menu via a tap or click, but those trigger words still exist within the visible canvas. Users who scroll or swipe past the main content will discover in plain view the menu options laden with trigger words.

When evaluating which elements to make visible and which to tuck away, consider the following questions:

  • How are your users seeking information?
    If a large number of your visitors are “known-item seekers,” meaning they arrive with a clear idea of what they are looking for, then they will more likely want to search; so, making the search field visible would be an excellent prompt. If most users will have only a general idea of what they want, then they might be more apt to browse and, therefore, would benefit from exposed trigger words.
  • What are your users looking to do, and how else could they get there?
    Compare what’s visible on screen to key content that your target audience is looking for or tasks they intend to complete. Do the content and links you make visible provide an easy enough path for users to accomplish what they came for? Or must they rely on navigation. If the navigation is a supplemental tool, serving as shortcuts to get around the website, then it might benefit from being tucked handily away. On the other hand, if a menu is the primary (or exclusive) means of navigating the website, then it might need greater visibility (or be visible by default).
  • What is your hidden content competing with?
    On a page with minimal content, clicking on an icon to reveal a list of hidden menu options is a no-brainer. But as more content and links are added to the screen, the menu icon has more to compete with. Compound this with the fact that visible links are filled with information scent (i.e. some graphical or textual cue that suggests what content exists behind the link). Meanwhile, an abstract symbol has relatively poor information scent, hinting only that “more options” can be found behind it.

Conclusion

Despite the incredible difference between the physical and digital worlds, the similarity in how we orient ourselves and decide where to go in both spaces is uncanny. The same cues that architects and urban planners rely on to help us process our location, know where to focus and choose our way could be applied in our day-to-day work on the web. Keep in mind that every person who browses an application is making their way through a space — often an unfamiliar one. As the user embarks on their journey, what types of wayfinding assistance are you providing to guide them?

(da, al, ml)

Footnotes

  1. 1 http://www.smashingmagazine.com/wp-content/uploads/2014/09/01-hierarchical-tree-opt.png
  2. 2 http://www.smashingmagazine.com/wp-content/uploads/2014/09/01-hierarchical-tree-opt.png
  3. 3 http://rachelhinman.com/
  4. 4 http://www.smashingmagazine.com/wp-content/uploads/2014/09/02-nested-doll-opt.png
  5. 5 http://www.smashingmagazine.com/wp-content/uploads/2014/09/02-nested-doll-opt.png
  6. 6 http://www.smashingmagazine.com/wp-content/uploads/2014/09/03-hub-spoke-opt.png
  7. 7 http://www.smashingmagazine.com/wp-content/uploads/2014/09/03-hub-spoke-opt.png
  8. 8 http://www.smashingmagazine.com/wp-content/uploads/2014/09/04-bento-box-opt.png
  9. 9 http://www.smashingmagazine.com/wp-content/uploads/2014/09/04-bento-box-opt.png
  10. 10 http://www.smashingmagazine.com/wp-content/uploads/2014/09/05-filtered-view-opt.png
  11. 11 http://www.smashingmagazine.com/wp-content/uploads/2014/09/05-filtered-view-opt.png
  12. 12 http://www.smashingmagazine.com/wp-content/uploads/2014/09/06-mixed-ia-models-opt.png
  13. 13 http://www.smashingmagazine.com/wp-content/uploads/2014/09/06-mixed-ia-models-opt.png
  14. 14 http://www.smashingmagazine.com/wp-content/uploads/2014/09/08-landmark-opt.jpg
  15. 15 http://www.smashingmagazine.com/wp-content/uploads/2014/09/08-landmark-opt.jpg
  16. 16 http://www.smashingmagazine.com/wp-content/uploads/2014/09/07-edges-opt.jpg
  17. 17 http://www.smashingmagazine.com/wp-content/uploads/2014/09/07-edges-opt.jpg
  18. 18 http://www.smashingmagazine.com/wp-content/uploads/2014/09/09-edges-opt.jpg
  19. 19 http://www.smashingmagazine.com/wp-content/uploads/2014/09/09-edges-opt.jpg
  20. 20 http://www.smashingmagazine.com/wp-content/uploads/2014/09/10-icons-opt.png
  21. 21 http://icomoon.io
  22. 22 http://www.smashingmagazine.com/wp-content/uploads/2014/09/10-icons-opt.png
  23. 23 http://www.smashingmagazine.com/wp-content/uploads/2014/09/11-text-labels-opt.png
  24. 24 http://www.smashingmagazine.com/wp-content/uploads/2014/09/11-text-labels-opt.png
  25. 25 http://www.uie.com/brainsparks/2009/06/28/old-news-about-icons/
  26. 26 http://www.smashingmagazine.com/wp-content/uploads/2014/09/12-lists-opt.jpg
  27. 27 http://www.smashingmagazine.com/wp-content/uploads/2014/09/12-lists-opt.jpg
  28. 28 http://www.smashingmagazine.com/wp-content/uploads/2014/09/13-hidden-menus-opt.jpg
  29. 29 http://www.smashingmagazine.com/wp-content/uploads/2014/09/13-hidden-menus-opt.jpg

The post Wayfinding For The Mobile Web appeared first on Smashing Magazine.

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Sass-based Grid Systems: How to Split Columns, not Hairs

October 13th, 2014 No comments

When it comes to website development there is not a lot better than a semantic, flexible, professionally crafted grid system, forming a “safe and sound” structure. It is the most viable and reliable solution that skillfully and effectively deals with all the dirty issues of today’s designs. For the past decade, the diversity of this kind of instruments has been considerably increased and constantly improved. There are pure CSS grids and mixed ones, simple style sheet files and complex pre-made frameworks, responsive and fixed, well-formatted and poorly formatted, some includes gutters others not – you are confronted with a plethora of choices. However, as you delve more deeply into this concept, it becomes obvious that each project requires its own solution and not every underlying system meets every project’s requirements and personal preferences. As always, the choice will depend on what you want to achieve in the end.

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Freebie: Icons Of Autumn (50 Icons, EPS)

October 10th, 2014 No comments
Quick preview of the Autumn icon set

There are icons that you can find quite easily, and icons that are difficult to come across. With Icons of Autumn, we are humbled to release a set of 50 free autumn-themed EPS icons illustrated in a lovely sketchy style.

Designed by Nick Botner as line art in Adobe Illustrator, the icons are available in EPS, enabling you to change both the color or the weight of the strokes with ease. However, if you want to make the icons into solid shapes, it shouldn’t take much effort either.

The autumn season has a lot to offer! (View large version31)

This icon set is licensed under a Creative Commons2. You can use the icons in your commercial as well as your personal projects, including software, online services, templates and themes. You may modify the size, color or shape of the icons. No attribution is required, however, reselling of bundles or individual pictograms is prohibited.

Quick preview of the Autumn icon set
You can change both the color or the weight of any of the icons.
Quick preview of the Autumn icon set
One of a kind: the leaf of a maple tree.
Quick preview of the Autumn icon set
A preview of some of the icons included in the “Icons Of Autumn” icon set. (View large version31)

Download The Icon Set For Free!

Insights From The Designer:

“Normally, I shy away from designing seasonal things, but I have a special place in my heart for Autumn. Actually, that’s because I used to live in Florida and always welcomed the “cold”. However, now that I live in the PNW, I guess you could say this might be the last time I love Autumn.

And as far as the set goes, it’s a continuation of icons that I have been slowly creating in this smooth sketch style. Previously I designed a nautical set, a weather set, and a scientific set. Now with Autumn added to the family, I need to think about what comes next.”

Thank you to the creative minds behind @nickbotner6 — we sincerely appreciate your time and efforts! Keep up the brilliant work!

(vf, il)

Footnotes

  1. 1 http://www.smashingmagazine.com/wp-content/uploads/2014/10/icons-of-autumn-large-preview.png
  2. 2 http://creativecommons.org/licenses/by-sa/4.0/
  3. 3 http://www.smashingmagazine.com/wp-content/uploads/2014/10/icons-of-autumn-large-preview.png
  4. 4 http://provide.smashingmagazine.com/smashing-freebie-icons-of-autumn.zip
  5. 5 http://alphateck.com/blog/
  6. 6 https://twitter.com/nickbotner

The post Freebie: Icons Of Autumn (50 Icons, EPS) appeared first on Smashing Magazine.

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Lifelong Learning: Certified Online Tutorials by Adobe Experts Train Simple for a One-time Payment of 79 Dollars

October 10th, 2014 No comments

Should you expect to get a lifelong membership of Train Simple through this deal, you are totally right. Our Deal of the Week gives you the opportunity to gain lifetime access to the massive portfolio of official Adobe training videos for a friction of the original price. If this is too far into the future for you, buy a year’s membership, still massively discounted. If you find more than 5,400 online training videos covering Adobe’s product portfolio from A to Z attractive, you should definitely read on…

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“Stop Being So Hard On Yourself”: An Interview With Designer And Entrepreneur Cat Noone

October 10th, 2014 No comments
Cat uses the iOS Paper app to sketch.

More and more designers and developers in our industry are making the leap into becoming entrepreneurs by starting their very own products. One of these aspiring designers is Cat Noone, co-founder of Liberio.

Cat is a young and talented designer and entrepreneur from Brooklyn, New York, now living and working in Berlin. She worked in the field of special education before jumping into a career that she really loves and makes her happy.

Since switching tracks, Cat has worked as a product designer at Prolific Interactive and as design lead at ADP Innovation Labs, and she has freelanced and advised startups. She is the co-creator of Designer Relationships131 and The Gentle Hound2 and works now on her own start-up Liberio3, an eBook creation and self-publishing platform for everyone.

In this interview, Cat shares insights about her personal life and Berlin, talks about her latest project (the startup Liberio) and gives advice to young designers and developers in the industry.

Q: First, tell us a little about yourself, Cat. Where did you grow up, and how did you start designing?

Cat: I grew up in Brooklyn, New York, in a time when kids still played outside and knew that the street lights turning on meant it was time to come inside. It was great and taught me a lot of the common street sense I have today — I’m grateful for it.

I was surrounded by art throughout my entire childhood. My grandfather and aunt were fantastic with doodles, sketches and more. I remember my aunt pulling out this beautiful piece of Belle from Beauty and the Beast that she did in college — I loved it and that kind of sparked the urge to do the same. I still see the details of that piece in my head, and it inspired me to sketch and draw the characters I loved so much, too.

My family knew the love I had, and still have, for art. They fully supported my passion by swarming me with coloring and sketch books, canvas and paints, pastels and more. I always had pencils, crayons, markers and paint nearby, and I also had this awesome art desk where I kept everything. Paintings, sketches and self-made characters filled my books and donned the refrigerator like they were masterpieces, courtesy of my family — I was always so proud of them.

As I got older, the sketchbook was often the only thing I brought to school. I drew my school notes in there, and the information was retained much easier when the notes were doodled, versus writing them so plainly.

Even though I never intended to be a designer when I was younger (I wanted to be a veterinarian), I guess I should have known I would become one. I was always quite particular about the way things should look, work and be constructed. When I was a kid, I had a clear idea in my head of what made sense and what didn’t. However, despite the love I had for design, I was scared to make the jump into designing full-time when the opportunity first came around.

Brooklyn, New York, the city that Cat grew up in.
Brooklyn, New York, the city that Cat grew up in.

I wasn’t sure whether or not I would be able to make a living off of it, and I think I would have failed if I had jumped into it at that time. In hindsight, I certainly wasn’t ready. Instead, I thought that a college degree in something else like psychology or education would be safe, so I went into college as a biology major and minored in psychology. I ended up in the special education field before I decided that you just have to be willing to jump sometimes — and I did.

Q: You live in Berlin now. How did you end up there, and what has made you stay?

Cat: Always a story I enjoy telling! I actually ended up here because of my significant other, Benedikt. We met in the United States, but he lived in Berlin. We knew that, eventually, it would come down to “What now? Who moves where?” [laughs]

I had been in the Valley for a bit and needed something different. I needed a break and knew the change of scenery would work out for me. We discussed it at length, each fully willing to support whatever decision we came up with, and finally came to a conclusion: I would come to Berlin, we’d stay out here for a while, travel around Europe, and after some time we would eventually head back to the States together.

From the moment I stepped foot in Berlin, I knew I made the right decision. For being such a major city, it’s so relaxing and beautiful. There are these little pockets within the center of the city that are so suburban-like. On top of that, the difference in culture, language and more is a nice opportunity to learn so much. I love it.

The so-called
The so-called “Fernsehturm” is one of the most prominent buildings in Berlin, and is visible throughout the central and some suburban districts of the city.

Q: Having spent a while in Berlin, do you think Berlin (and Germany) is an encouraging place for people in our industry?

Cat: I think it’s great for a variety of reasons. It’s not “busy” out here, for one. The city surrounding the scene is much more calming, making it feel less chaotic in an industry that is always on the go. Compared to the other cities I’ve been in, it’s still a baby startup scene. But that’s part of the reason I’m happy to be out here now rather than later. It’s growing and needs to be molded. Building a company that is part of that feels awesome.

When it comes to the Valley, there are a lot of qualities people in the industry are not happy about. I also see and hear of more designers and developers choosing Berlin over San Francisco, which is interesting. So, I think Berlin could learn from what people dislike about other places and can mature and shape itself into what it should and needs to be in order to thrive. It has a lot of potential; some awesome startups are sprouting lately, and I’m excited to see where it goes. I recommend everyone experience a startup scene at the stage Berlin is at now.

Berlin's calming scene makes it feel less chaotic in an industry that is always on the go.
Berlin’s calming scene makes it feel less chaotic in an industry that is always on the go.

Q: Coming to a new city, what do you think is the best strategy to build a creative network and to find people to build something?

Cat: Reach out to people, for sure. You have to break out of your comfort zone and just contact people. One thing I enjoy doing is connecting with people who are in my area on Twitter. It’s nice to see what others are working on and what you can learn from them. Much like the Valley, something is always happening, and someone is always willing to link up for a coffee or lunch. Take advantage of that!

It may feel weird at first, reaching out to someone you don’t know, but it’s well worth it.

Q: You also met cofounder Nicolas Zimmer in Berlin. How did you come up with the idea for Liberio?

Cat: Nicolas actually came up with the core idea for Liberio. He grew up in a family that at one point ran a publishing house. So, he experienced firsthand the transition from traditional to digital and the struggle that self-publishers face.

For me, I had personally tried creating an eBook at one point and knew what it was like to design and create a high-quality one. It was not fun. And I could imagine how many others out there are not as tech-savvy but want to share their thoughts, stories and more with the world.

Once Nicolas and I met and sat down to discuss Liberio further, we solidified it, built on the idea and created what you see today.

4
Cat uses the iOS Paper app to sketch. (View large version5)

Q: What makes Liberio better than other solutions?

Cat: Until Liberio, there was no product that enabled the average individual to create and publish an eBook in the simplest, easiest and most beautiful way possible. Before, you had to use multiple and often difficult tools to do so. The publishing market is mostly in the hands of publishing houses, or else the products are made for professionals, which totally eliminates the chance for self-publishers to go far without major help. Realistically, that needed to change. Self-publishing is no longer a niche trend, and we wanted to create something that enables everyone to share their ideas, stories and knowledge.

The one thing we emphasize is that we want to do for eBooks what the App Store did for software: which is to allow individuals to create and publish their ideas and knowledge. Ultimately, we want to be the one-stop shop for it all. Liberio is for everyone. On our platform, we currently have students, teachers, doctors, authors, engineers, designers, chefs, bloggers and more. And that’s really exciting to see.

Q: What were the basic features and main goals you started with, and how did your product evolve?

Cat: Writing and reading are very emotional experiences, and one of the things we wanted from the beginning was to tap into that as much as possible through the branding and voice. That’s the main reason why we went with the illustrative design and friendly voice that we have. From there, we could bring our story, characters, objects and more to life — similar to what you’re familiar with from books.

Our goal from the beginning was to make the design as easy as possible to understand, so that people could easily create and publish an eBook. We started in private beta to ensure that our platform was solid and easy to pick up on, allowing you to simply create and publish right from Google Drive. We knew doing that in private beta would allow people on the platform to talk to us and validate or correct the assumptions we were making and the direction in which we were taking Liberio.

Early version of Liberio.6
Early version of Liberio. (View large version7)
The final version of the front page.8
The final version of the front page. (View large version9)
The final back-end version.10
The final back-end version. (View large version11)

The process helped us to gain a better understanding of our next steps. We’ve learned a lot about what is needed in the self-publishing world versus what is simply wanted. I think our biggest insight was understanding the different ways we need to showcase and promote authors as much as possible; and now, post-launch, we’re working on ways to do so.

Q: There has been a lot of discussion lately about the future of self-publishing. Do you think publishers will become redundant, and will Liberio play a part in that development?

Cat: Definitely. People are realizing they don’t need publishing houses to succeed anymore. Before, having a company like Penguin on your book cover meant dollar signs. However, in the digital world we live in now, with social networks, self-publishers no longer need a publishing house to push their digital content out there, and consumers certainly don’t need the vanity logo to assure them that this is something they’ll want to read. Consumer reading lists are now drawn solely from suggestions based on previous reads and from others in your circle.

Nicolas and I laugh because a lot of people don’t realize that the (infamous) 50 Shades of Gray series started out as a self-published book. Only once it blew up did a publishing house want it because they were guaranteed to make so much money off of it. Before that, they didn’t want to touch it. That’s the problem self-publishers face. But the great thing is, they no longer need the publishing house.

Q: What are your future plans, dreams and hopes for Liberio?

Cat: Ultimately, I want Liberio to be the one-stop-shop not only for authors, but for any individual who wants to easily create and publish content that can then be consumed by everyone. I want to provide them with tools on our platform that enable them to create the most interactive and engaging content and to profit from it emotionally and financially.

There are so many stories left untold, and I’d love to continue doing everything possible to ensure they are written, distributed without a hassle and seen by everyone.

Q: What are the biggest challenges or fears you’ve faced as an entrepreneur, and how did you tackle them?

Cat: So, what come to mind instantly are speed and efficiency. Right now, it’s just Nicolas and I building Liberio, and while it really is great on the one hand, it also has its cons. The number of people on the platform is quickly increasing week by week, and although I won’t and never will complain about that, it means that a lot more hands are needed on deck.

Nicolas is handling all things development and business and some support. I’m focusing on all things design and brand management, business and marketing and some support also. With more people on board, this would obviously alleviate pressure on both of us and free us up to focus on other areas, pushing the product forward in a much faster, more efficient and more strategic way.

Q: You’re life must be very busy right now. What inspires you, and how do you get out of designer’s block?

Cat: I’m definitely influenced by the innovative products around me. They definitely get me excited about what’s to come, and they keep pushing me to work harder and think differently.

I do my best to ensure designer’s block doesn’t happen, because it ends up being kryptonite for me, and my brain becomes toast for a long period of time. It’s happened once already, and I just couldn’t stare at another pixel — it was bad.

When I just can’t get into a groove, though, or I’m not satisfied with how something is going, I make it a point to step away from the Internet and the computer for inspiration. I love traveling, seeing the area around me, reading or looking at magazines and more. I make sure I get lost and mentally detached from the tech world as much as I can.

At the end of the day, I make it a point not to look at my phone or computer as much as possible. It takes a long time for my brain to wind down as it is, so feeding it continually into the night is just counter-productive. To do so, I enjoy cozying up in the living room with Benedikt and our puppy, Dex, watching our shows or going for a nice long walk together.

After a long day at work, Cat likes to relax mostly in her living room.
After a long day at work, Cat mostly likes to relax in her living room.

Q: Besides turning Liberio into a successful product, what are your personal and business goals for this year?

Cat: Oh wow. This is a pretty deep question. I think this year I have more personal goals than I do business-wise, mainly because I know one hand will wash the other — I know, that’s such an old grandma saying.

My biggest battle is and probably always has been myself. I expect a lot from myself. This isn’t necessarily a bad thing, but the problem is that I beat myself up a lot at the same time, and it honestly makes me unproductive. It’s funny because I tell everyone, “Stop being so hard on yourself” — but when it comes to myself, I really don’t take my own advice often.

Although I’m satisfied with a lot of what I do and with the progress I’ve made, there is always the other side talking to me saying, “It isn’t good” or “You’re not going to make it,” and it feels rather low. So, that’s something I want to work on. I want to turn the “It isn’t good” voice into “Can this be improved? If so, how? Look at it from a different angle.”

A quote from Designer Relationships — one of Cat's side projects.12
A quote from Designer Relationships131 — one of Cat’s side projects.

Personally, I also want to enjoy life more. I spent a lot of time prior to this year focusing on things that I thought would get me closer to “success,” instead of realizing that success is what you make of it. Being successful isn’t about how big your business becomes, but about how happy you are, about the beautiful relationship I create with my significant other. Now, don’t get me wrong: I want to make a big difference in the community, and I want Liberio to be successful, but getting there is so much more likely if the cofounder has a level head to do so.

In business, I want to learn a lot from every aspect of my work right now. I want to educate myself in areas that I am subpar in (development, business, finances, etc.), to ensure I always keep up and continue to hone my skills. I want to build up my network and profile and to connect with a lot of people who I can learn from as best as possible, so that I can apply it to everything I work on.

Q: And last but not least, what advice can you give to young designers and developers who want to start a successful side project or startup?

Cat: Yes, I have a few points that I consider very important to becoming “successful.”

  • Know what you excel and suck at.
    It’s important to know where you flourish and where you fail and to be willing to accept that so that you can accept help. Most people have such big egos that they refuse to admit and ask. It’s a career-killer.
  • Connect.
    Get to know people in the field who you can watch and learn from, speak to and get advice from when you ask. Reach out to them! The worst that’s going to happen is they say no.
  • Use the tools you have.
    Use your tools to make something fast, meaningful and beautiful all at the same time. Use what you know, and then go from there. Adapt once you have the basics down. There’s always going to be something new sprouting up.
  • Love what you do.
    Nothing is worse than going through life doing something that isn’t truly satisfying. It will make life hell for you, your employees and, in the end, the company. It’s not worth it. Find what you love, do it, and the world will benefit. You might be scared, but you have to do what makes you happy — you only have one shot at this.
  • Enjoy the ride.
    When it comes to startups, months are like years. The life cycle is really quick. 90% of companies fail, but in the failure is a compilation of mistakes that blossom into lessons learned. In the end, you take those lessons and learn from them. You apply them to your next venture and hope you’ve learned enough not to make the mistakes again. You’re in the air flying for what seems like a lifetime, and it could be exhausting or exhilarating. So, flap your wings as hard as possible while you’re up there, because there’s no telling when it’ll be time to come back down again.

Thank you for sharing with us these inspiring insights into your work, Cat! Please feel free to follow Cat Noone on Twitter14 and check out her website15.

(al, il)

Footnotes

  1. 1 http://designerrelationships.tumblr.com/
  2. 2 http://www.gentlehound.co
  3. 3 http://liber.io
  4. 4 http://www.smashingmagazine.com/wp-content/uploads/2014/10/liberio-business-card-sketch-opt.png
  5. 5 http://www.smashingmagazine.com/wp-content/uploads/2014/10/liberio-business-card-sketch-opt.png
  6. 6 http://www.smashingmagazine.com/wp-content/uploads/2014/09/early-sketches-1-opt.png
  7. 7 http://www.smashingmagazine.com/wp-content/uploads/2014/09/early-sketches-1-opt.png
  8. 8 http://www.smashingmagazine.com/wp-content/uploads/2014/09/liberio-finished-opt.png
  9. 9 http://www.smashingmagazine.com/wp-content/uploads/2014/09/liberio-finished-opt.png
  10. 10 http://www.smashingmagazine.com/wp-content/uploads/2014/09/liberio-share-popover-opt.png
  11. 11 http://www.smashingmagazine.com/wp-content/uploads/2014/09/liberio-finished-2-opt.png
  12. 12 http://www.smashingmagazine.com/wp-content/uploads/2014/10/designer-relationships-opt.png
  13. 13 http://designerrelationships.tumblr.com/
  14. 14 https://twitter.com/imcatnoone
  15. 15 http://heyimcat.com

The post “Stop Being So Hard On Yourself”: An Interview With Designer And Entrepreneur Cat Noone appeared first on Smashing Magazine.

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