Tag Archive for: Designmodo

Eye CloseupIn pretty much every way, good web design is subjective. Trends come and go, and limitations are removed which open up entirely new options for how a site can look and act. While user experience can be quantified through testing, there is nothing scientific about what people want either. There are objective ways to look at the current desires of the public, and some things, like easily understandable navigation methods, will never go out of style, but in a decade, the rules for “good web design” will be barely recognizable from the standards we have today.

However, the way people read is likely to stay the same for the foreseeable future, even on the web. Eye tracking has allowed up to study just how people tend to look at text on the web and paying attention to how users read and look at websites, designers can make informed decisions on how to design their site around their visitors’ patterns.

Eye tracking has been around since the late 1800’s, though it only became commonly used for studying design and marketing in the 1980’s and 90’s. The first big study on web page viewing happened in 2006 by Jakob Nielson, which shows that visitors read web pages in a steady pattern; people’s eye make horizontal swipes across the page, then move down vertically. There have been numerous other studies since, and they all show that internet users continuously scan websites in the same pattern.

The pattern is usually referred to as an F-shape pattern because of how eyes start at the top left corner, moving to the right in a straight pattern, then back to the left hand side where they scan about a third of the way down the page, then back out to the right in a straight line.

If you want to know how you can harness eye movement patterns to inform your web design decisions, Carrie Cousins from Designmodo explores all of the possible implications of eye tracking studies. She breaks down every pattern seen in the studies and even gives examples of websites that are already designed around viewing patterns.

Source: Flickr

Typography lagged behind a lot of innovation online for years because of constrictions on font use. Text on the internet relied on a few fonts that would be on almost every visitor’s computer, and even then you were doubly limited by text legibility. Web-safe fonts opened the doors a little for designers, but they also created their own set of unique problems.

It hasn’t been until just recently that creative typography became easily achievable and widespread online thanks to a few technological jumps. Higher display resolutions, more control over text, and the wonderful @font-face implementation has made typography not just a creative flourish, but a necessary concern when trying to make a gorgeous site.

Whether or not this is related to the burst in popularity for typography in design as a whole is hard to tell, but it is hard to deny that while the internet has been making typography easier, more traditional designers have also been enjoying a renaissance for calligraphy and innovative use of text.

Paula Borowska is as big of a typography lover as I am, and she agrees that 2013 is going to be huge for online typography. She predicted the typography trends for this year over at Designmodo, and it is interesting to see how many of her predictions are parallel with the wider trends for web design at the moment. The first trend she mentions, an increased utilization of white or negative space, has been on every web design list for this year, and it is hard to deny that eye-popping use of text has helped push minimalistic design to new heights recently.

I recently wrote about the current debate over skeuomorphism and flat design, but after investigating more into the topic, I don’t feel like I explained skeuomorphism as well as possible. Of particular interest to me was Paula Borowska’s article for Designmodo specifically looking at skeuomorphism.

The biggest misconception about skeuomorphism is also the one I failed to address in my original definition of the concept. Skeuomorphism isn’t simply mimicking the way something looks. It is copying the aesthetic properties of the material, the shape, and most importantly, the functionality. Those apps using faux leather backgrounds aren’t part of skeuomorphic design.

More than anything, Skeuomorphic design is about functionality and shape, not texture. The object doesn’t have to physically do something, but it has to convey the idea of functionality  For example, a paperclip on a “stack” of photos is skeuomorphic design, because it appears to be holding them together.

Apple, always noted for their use of skeuomorphism, have the newsstand, the most famous case of the design technique. It, of course, has the wooden texture of a bookshelf, but it also used the newsstand shape and shelved to organize the magazines like they would be on an actual newsstand. Sure, it looks pretty, but it also uses the idea of a real object to better help you understand and interact with the content.

The debate between skeuomorphism and flat design is most likely just posturing. Despite proponents on either side, neither style is inherently better than the other. Most importantly, the web is not a cohesive entity. Neither style of design is going to eradicate the other, though they may fluctuate in popularity. If the internet can’t seem to completely rid itself of Geocities style pages from 1998, neither of these techniques will be disappearing any time soon.

Retina Displays have become a buzzword for design and Apple alike, as it has managed to become synonymous with any display able to show high definition graphics, but many don’t actually understand what Retina means. For starters, “Retina Display” is just Apple’s term for any devices that can put out the high quality graphics, but almost every other brand of mobile device has devices with the same capability.

In other words, asking if your PC has a Retina capable display is like asking if HP makes an iPad.

The misunderstanding, combined with Apple’s penchant for promoting the capability without stating what it actually means in their ads, has made a huge number of people think they understand the term, without knowing the details.

Retina Display is Apple’s brand name for liquid crystal displays that show pixels at higher densities than ever before. These high definition displays pack twice the number of pixels in the same amount of space a normal display would show. This causes text, icons, and even even optimized pictures to look crisper and less blurry than before.

Source: Designmodo

This raises a couple problem however. Most websites haven’t optimized for Retina Displays, so instead many pictures and text will appear pixelated, and the new set of display capabilities adds to the already huge variance of screen resolutions and sizes accessing websites.

Paula Borowska knows how to fix these issues though, and the solution is already one of the most popular design methods available right now. Her article at Designmodo covers the different ways you can create Retina graphics and text that utilize responsive design.If you want your site to look as crisp and beautiful as it can, creating Retina level graphics is the way to go, and it can be surprisingly easy.

Not too long ago, web designers were restricted to a set of universal type faces that were installed on nearly every computer. If they wished to use more extravagant typographical designs, they pretty much always had to create images with them instead of directly placing the text on the page.

With the @font-face CSS rule, designers can input their own fonts on websites, not relying on the visitor to have the font already installed. In a design community where there are literally hundreds of thousands of free fonts available, having the freedom to use any font you desire is like taking blinders off of a horse.

Keep in mind the rules of design however. More than three fonts on one page is going to look excessively busy, and will likely slow down the loading times of your site. Designmodo helps walk designers through adding the @font-face CSS rule, and they urge everyone to use universal fall back fonts, which is smart advice. Not every browser supports @font-face, and you don’t want to ruin accessability for any group of users.

 

The limits that come from working with a strict color scheme can feel restricting and maybe even frustrating at first, but once you’ve put in some thought, it is easy to see the effect they can have on a design.

Strict color schemes add coherence to your overall layout and establishing consistency. Working with a monochromatic palette makes designing all about contrasts, and automatically establishes a message or mood on a web page.

Don’t get excited if you think working with just one color will be easier. A single set of colors have such a huge range of tints and shades that you can carefully manipulate to create a striking layout. There are plenty of ways to go about it, but Carrie Cousins from Designmodo suggests starting with a dark color scheme, and I agree it is a good place to start.

Before you try to start with a dark palette, remember that black can easily overwhelm the rest of the page and make content hard to digest. Balance is as essential as contrast when trying to design a page with black as a base color.

The first step is of course selecting the colors you want to use. As I’ve suggested before, using a full black is tricky for any composition, be it on a web page of a canvas. Instead, saturate your blacks with the other main color of your composition, so that “real black” is only used extremely selectively. Even using a dark gray is usually preferable to completely black.

For your lighter colors, select your other main color, and add black in ten percent increments to create a “set” of consistent hues for your page. You also need to decide how much contrast you want on your page, which is usually reliant on the feeling you are attempting to cultivate. If you want a moody atmosphere, less contrast can help create a spooky or creepy feel, while brighter colors and contrasts may suggest a slicker or hipper mood.

Carrie Cousins’ article on dark color palettes and designs includes some quick color palette tools you might use if you don’t know where to start.