Archive for February, 2011

Business Objectives vs. User Experience

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Here’s a question for you: would you agree that creating a great user experience should be the primary aim of any Web designer? I know what your answer is… and youʼre wrong!

Okay, I admit that not all of you would have answered yes, but most probably did. Somehow, the majority of Web designers have come to believe that creating a great user experience is an end in itself. I think we are deceiving ourselves and doing a disservice to our clients at the same time.

The truth is that business objectives should trump users’ needs every time. Generating a return on investment is more important for a website than keeping users happy. Sounds horrendous, doesn’t it? Before you flame me in the comments, hear me out.

The Harsh Reality

Letʼs begin with the harsh truth. If an organization does not believe that it will generate some form of a return on an investment (financial or otherwise), then it should not have a website. In other words, if the website doesn’t pay its way, then we have not done our jobs properly.

Despite what we might think, our primary aim is to fulfill the business objectives set out by our clients. Remember that creating a great user experience is a means to this end. We do not create great user experiences just to make users happy. We do so because we want them to look favorably on the website and take certain actions that will generate the returns that our clients want.

Business-vs -User-experience in Business Objectives vs. User Experience

Is the business world at odds with creativity? Image by opensourceway

User Experience Is Important

Let me be clear. Iʼm not suggesting that user experience is unimportant. In fact, I believe that creating an amazing experience is the primary means of helping a website fulfill its business objectives. A well-designed website makes it easy for users to complete the calls to action we have created.

Happy users also provide many other benefits. They can become advocates for your website. A happy user is considerably more likely to recommend your services and is more patient when things occasionally go wrong. Enthusiastic users can also become valuable volunteers; they have innumerable ideas about how your website and products can be improved. They are far more valuable than any focus group!

The point, though, is that happy users generate a return on investment, so spending the time and effort to give them a great experience is worth it.

When Business Objectives and User Experience Clash

You may argue that this is all semantics and that business objectives and user experience actually go hand in hand. Generally, I agree, but there are occasions when the two clash, and at these times we need to be clear that generating a return on investment should trump user experience.

Let me give you an example. We Web designers often complain when clients ask us to add fields to their online forms because they want to collect certain demographic information about their users. We argue, rightly, that this annoys users and damages the user experience. But we need to ask ourselves whether those additional fields would make users not complete the forms at all—as we fear—or would just slightly irritate them. If users ultimately complete the form and the company is able to gather valuable demographic information, then the slight irritation may be worthwhile.

Do You Have The Right Balance?

Iʼm a little nervous about this post because I realize that many people could misinterpret what Iʼm saying. But I passionately believe that the Web design community is in danger of becoming blind to all else but user experience. Iʼm convinced we need to spend as much time and effort on understanding and achieving business objectives as we do on creating a great experience.

I’ll end with this: during your last project, how much time did you spend creating personas, testing usability and generally improving the user experience? How does that compare with the amount of time you spent learning about the client’s business objectives and creating great calls to action?

Ask yourself whether you got the balance right.

(al) (ik)


© Paul Boag for Smashing Magazine, 2011. | Permalink | Post a comment | Smashing Shop | Smashing Network | About Us
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Digital Artwork Inspired by Geometry

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In this exclusive roundup, we have compiled some very creative digital artwork inspired by geometric shapes. These shapes have always been a great tool for designers and artists to create their artwork in a simple yet aesthetic way. This type of digital art which includes geometrical shapes looks stunning and visually alluring. Some artists have combined two or more shapes to add more details into their designs. Let us know what you think!

Discard / Reuse

Geometrydigitalarts20 in Digital Artwork Inspired by Geometry

Geometry Series

Geometrydigitalarts37 in Digital Artwork Inspired by Geometry

CUBEN 2010

Geometrydigitalarts5 in Digital Artwork Inspired by Geometry

Abstract Circles

Geometrydigitalarts17 in Digital Artwork Inspired by Geometry

Gasoline Morning

Geometrydigitalarts3 in Digital Artwork Inspired by Geometry

Dream Galaxy

Geometrydigitalarts6 in Digital Artwork Inspired by Geometry

Symmetry

Geometrydigitalarts4 in Digital Artwork Inspired by Geometry

Abstract

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02

Geometrydigitalarts12 in Digital Artwork Inspired by Geometry

misc projects 2009

Geometrydigitalarts15 in Digital Artwork Inspired by Geometry

Cloud Maschine : Abstract

Geometrydigitalarts16 in Digital Artwork Inspired by Geometry

BARRACA FLYERS

Geometrydigitalarts18 in Digital Artwork Inspired by Geometry

Zachte G

Geometrydigitalarts19 in Digital Artwork Inspired by Geometry

Circles

Geometrydigitalarts21 in Digital Artwork Inspired by Geometry

Vecto

Geometrydigitalarts22 in Digital Artwork Inspired by Geometry

Visual Response #3

Geometrydigitalarts53 in Digital Artwork Inspired by Geometry

EXPLOSION OF COLORS AND SHAPES

Geometrydigitalarts24 in Digital Artwork Inspired by Geometry

Composition #04

Geometrydigitalarts25 in Digital Artwork Inspired by Geometry

Impossible Symmetry

Geometrydigitalarts26 in Digital Artwork Inspired by Geometry

Synthetic geometry

Geometrydigitalarts28 in Digital Artwork Inspired by Geometry

Dance.ver.1

Geometrydigitalarts29 in Digital Artwork Inspired by Geometry

Digital Abstracts

Geometrydigitalarts30 in Digital Artwork Inspired by Geometry

Abstract Space

Geometrydigitalarts31 in Digital Artwork Inspired by Geometry

Patchwork

Geometrydigitalarts33 in Digital Artwork Inspired by Geometry

Stuff

Geometrydigitalarts39 in Digital Artwork Inspired by Geometry

Stained Glass Geometry

Geometrydigitalarts40 in Digital Artwork Inspired by Geometry

Geometry Serie

Geometrydigitalarts38 in Digital Artwork Inspired by Geometry

Air

Geometrydigitalarts41 in Digital Artwork Inspired by Geometry

GEODETIC

Geometrydigitalarts44 in Digital Artwork Inspired by Geometry

365 Days Project

Geometrydigitalarts46 in Digital Artwork Inspired by Geometry

365 Days Project: Lines & Geometry

Geometrydigitalarts49 in Digital Artwork Inspired by Geometry

D.R.T.H Geometrical Poster

Geometrydigitalarts51 in Digital Artwork Inspired by Geometry

The Great Pyramid

Geometrydigitalarts60 in Digital Artwork Inspired by Geometry

SUBSTITUTE

Geometrydigitalarts45 in Digital Artwork Inspired by Geometry

(ik)


Enterprise HTML, CSS and JavaScript explained

A while ago I posted Tips for creating enterprise-level HTML, CSS and JavaScript, where I mentioned a few examples from the Enterprise CSS, Enterprise HTML, and Enterprise JavaScript sites.

The examples on those sites are meant to be ironic, showing what not to do. Some readers have contacted me because they feel that the irony isn’t completely obvious and are worried that people getting started in front-end web development would misinterpret the “tips�. They do have a point, so I thought I’d bring up a few of the examles from the Enterprise CSS/HTML/JS sites and explain why I think they are bad examples.

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Bringing Interactivity To Your Website With Web Standards

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Adding interactivity and animations to a design doesn’t have to be complicated or make the website inaccessible when you use modern Web standards. In this article, we’ll explore several examples and theories that employ CSS, HTML, SVG, the canvas element and JavaScript. Some of these techniques you’ll know, others you may not have considered. Let’s start with the basics.

1. HTML and JavaScript

Manipulating HTML with JavaScript is the most common method of adding interactivity to a website. But before you start using JavaScript, having a strong understanding of the CSS visual formatting model and box model is important. They are vital to making sense of how HTML elements can be manipulated visually. When you dynamically change the style of an HTML element, it will flow with and react to the rest of the document. Learning to anticipate and control what is affected can be difficult.

Using a JavaScript library such as jQuery can take the pain out of cross-browser support. jQuery also provides common functionality that makes interacting with HTML a quicker process. It’s necessary to learn the basics of JavaScript before looking at a library like jQuery, to ensure that you understand the fundamentals and therefore know how jQuery does something, not just what it does. The distinction here is key to being able to write your own JavaScript.

A Slideshow Example

The website for the Momento App has a horizontal-scrolling slideshow that presents new content when the user clicks left and right.

Itws-momentoapp11 in Bringing Interactivity To Your Website With Web Standards
Momento App has its own jQuery plug-in for the slideshow effect.

How It Works

The five slides are img elements wrapped in divs and positioned sequentially inside their containers:

<div id="tour_pages">
    <div id="tour_page_capture" class="tour_page">
		<img src="images/tour/capture.png" />
	</div>

    <div id="tour_page_import" class="tour_page loading">
    	<img src="images/tour/import.png" />
    </div>

    <div id="tour_page_browse" class="tour_page loading">
    	<img src="images/tour/browse.png" />
    </div>

    <div id="tour_page_read" class="tour_page loading">
    	<img src="images/tour/read.png" />
    </div>

    <div id="tour_page_protect" class="tour_page loading">
    	<img src="images/tour/protect.png" />
    </div>

</div>

<a id="tour_nav_previous" href="#">Previous</a>
<a id="tour_nav_next" href="#">Next</a>

The container tour_pages has a fixed height and width in the CSS. It also has the overflow property set to hidden.

#tour_pages {
    position: absolute;
    left: 0px;
    top: 116px;
    height: 420px;
    width: 940px;
    overflow: hidden;
}

You can see in the image below how the five slides are positioned to move inside their containers. A container will clip everything outside of its boundaries because of overflow: hidden. This creates what we can call a window or viewport effect.

Itws-momentoapp2 in Bringing Interactivity To Your Website With Web Standards
Showing the clipping frame and hidden elements.

This set-up can all be done with CSS and HTML alone. To create the interaction, we need to use JavaScript to move the slides when “Nextâ€� or “Previousâ€� are clicked. The JavaScript used by Momento is quite involved, so I’ll leave it as an exercise for the reader to inspect, but I hope this example provides a good illustration of how HTML elements are controlled while remaining part of the document structure.

When to Use JavaScript

In the Momento example, we can see how JavaScript is useful for controlling access to content. The hide and reveal technique in all its forms is useful for keeping visible content clean and enhancing the user experience.

The website is intended to sell a product, and this slideshow effect imparts a sense of quality, something that is more exciting than the norm. Interactive content like this works best for promotional content.

When Not to Use JavaScript

Interactivity can be a lot more engaging than static content, but it’s not always the most usable solution. Consider the following:

  • Will the user understand and expect the relevant action that occurs?
  • If content is hidden, will the user know how to access it?
  • Does the additional user input actually improve the overall experience?
  • Will the website be usable on all devices?

If you cannot justify the JavaScript against these questions, then you’d be wise to stay away. Be vigilant: ask yourself whether the extra eye-candy is really necessary.

Usable and accessible don’t just mean that a device is technically supported by the website. The website should be as easy to use as possible for all audiences—from young to old—and in all environments.

Further Reading

Interactivity and JavaScript are almost synonymous in Web design, but as we’ll see in the next example, JavaScript is not always necessary.

2. CSS3 Transitions

The CSS :hover pseudo-class allows for a style change when the user hovers over an element. Typically used on the <a> element for links, the change can provide visual feedback for the user. While not exactly revolutionary on its own, :hover can be used to great effect.

Designer Christoph Zillgens uses CSS3 transitions to enhance the hover effect. You can see the transition phases below:

Itws-transitions in Bringing Interactivity To Your Website With Web Standards
Three phases of the hover transition: default, transition and then hover.

How It’s Done

Inspecting the HTML doesn’t offer many clues. At a glance, we can see a normal link. This is perfect for semantic markup, but how do we create the transition?

<p class="category_link">
    <a href="http://christophzillgens.com/en/category/posts/">
        <span>View all Posts</span>
    </a>
</p>

The only unusual addition here is the extra span tag wrapping the text. The CSS reveals the secret. Let’s take a look (some styles have been omitted below for readability):

.category_link a {
    display:block;
    background:rgba(0,0,0,.05) url(img/big_icons.png) 10px 10px no-repeat;
}
.category_link a:hover {
    background-color:rgba(180,70,30,.7);
    -webkit-transition:background-color .4s ease;
}
.category_link a span {
    position:relative;
    top:150px;
    opacity:0;
    -webkit-transition:all .3s ease-in-out;
}
.category_link a:hover span {
    top:130px;
    opacity:1;
}

We can see in the HTML and CSS that both the a and span are converted to block-level elements to allow for positioning and sizing. They are styled in two states, default and hover (A and C in the image above).

By default, the span starts of with an opacity of 0 and at 150 pixels from the top. On hover, the span is fully visible and 130 pixels from the top. The anchor has a simple background color change between A and C.

At this stage, the hover effect jumps from default to the hover state instantly. This works fine for older browsers, but with CSS3 transitions we can create a silky-smooth animation between the two points.

Adding the Transition

We now have a start point and end point for our hover effect. To create the intermediate transition, we can use the transition property (defined here) with a format like this:

transition: [transition-property] [transition-duration] [transition-timing-function]

In the default span style, the transition property was added like so:

-webkit-transition:all .3s ease-in-out;

This means that whenever the default style is applied, the span will transition between its current style and the default style. In this case, all CSS properties are affected, and the transition is triggered by the mouse hover. If we want to transition a single property, like the background-color of the anchor, we can do this, too:

-webkit-transition:background-color .4s ease;

Creating hover transitions is as simple as specifying the default and hover states with CSS and then letting the transition property animate any changes between the two.

When CSS Transitions Work

Using the transition property with :hover is a very handy technique that bypasses JavaScript entirely. Removing this extra dependancy can save time and space.

That said, transitions are also triggered by dynamic HTML changes using JavaScript. If you’re used to toggling classes with JavaScript to change styles, then why not see what difference a transition or two can have?

You’ll notice that this example uses the -webkit- vendor-specific property for Safari and Chrome, but transitions are also supported in Opera using the -o- prefix and the new Firefox 4 beta with -moz-.

The good news for graceful degradation fans is that older browsers (i.e. Internet Explorer) ignore the transition and apply the style change immediately. This means you’ll rarely find a situation in which using transitions degrades functionality.

Other Examples

Here are a few more websites whose use of CSS transitions is noteworthy:

  • When using hover, the affected elements don’t always need to sit inside the same container. Love Nonsense makes use of the adjacent sibling selectors to trigger transitions.
  • Simurai demonstrates a combination of transitions and transforms to create a complex experimental toggle button using nothing but CSS and HTML.
  • The :hover is not the only trigger for transitions. Neal Grosskopf’s CSS-only lightbox demonstrates the use of the :target pseudo-class.

Further Reading

Here is a selection of in-depth articles that cover the nuances of CSS transitions:

3. Animations With SVG

Hover effects work well for links but can be confusing when triggered unexpectedly on other elements. They’re also less accessible on touchscreen devices. Adding interactivity when the user clicks is usually very useful because it provides feedback to the user, and sometimes it just feels more intuitive.

Get Satisfaction uses a clever technique to showcase 12 different testimonials. In this example, the company makes use of scalable vector graphics (SVG) to aid with the animation.

Getsatisfaction in Bringing Interactivity To Your Website With Web Standards
The “Wheel of Satisfaction� animates an SVG image.

Part of the HTML for this wheel looks like this:

<div id="wheel-logos">
    <svg xmlns="http://www.w3.org/2000/svg" version="1.1" width="1003" height="315">
        <image x="91" y="-505" width="820" height="820"
        preserveAspectRatio="none"         href="sites/all/themes/getsatisfaction/images/wheel_logos.png"
        transform="rotate(3600 501 -95)"></image>
    </svg>
</div>

You can see above that the wheel image is contained within an svg element. SVG is an XML-based standard and can be written inline in HTML. SVG is particularly useful because images in SVG can have a transform attribute, allowing for rotation, scaling and skewing (unlike normal HTML img tags).

To create and animate the wheel, Get Satisfaction used a library called Raphaël with jQuery:

var R = Raphael("wheel-logos", 1003, 315);
var logos = R.image(src, 91, -505, 820, 820);
$("#wheel-spin-btn, #wheel-controls .spin").click(function(e) {
    if (status != "animating") {
        num = Math.floor(Math.random()*(items-1)+1),
        angle += (num+items)*rotate;
        logos.animate({rotation: angle}, 3000, "<>", reorderLinks(3000));
    }
    e.preventDefault();
});

In the JavaScript above, jQuery binds the click event to the spin button. When the button is clicked, Raphaël’s animate() function is called to rotate the image. If you open the Firebug extension in Firefox, you can see the SVG image’s transform attribute update live as it spins:

Code-transform in Bringing Interactivity To Your Website With Web Standards

True SVG Animation

As we’ve seen above, SVG can be manipulated with JavaScript just like HTML. But did you know that SVG has its own animation properties? It’s in the SVG specification, but we rarely see it used. Here’s an example element from the W3C draft:

<rect>
    <animate attributeType="CSS" attributeName="opacity" from="1" to="0" dur="5s" repeatCount="indefinite" />
</rect>

SVG can even contain ECMAScript (which is the standardized scripting language on which JavaScript is based) to add interactivity inside. For more information on this usage, I’d suggest starting with Peter Collingridge’s article “Mouseover Effects in SVGs.â€�

When to Use SVG

Always consider the pros and cons of any technology. The most logical solution is not necessarily the easiest to implement. SVG provides an alternative graphics environment that may make animation a piece of cake in some situations. The scalable nature of SVG also provides obvious benefits over fixed-sized raster images.

The reason we rarely see SVG used is that Internet Explorer (below version 9) has no support for it. But not all is lost! The Raphaël library that Get Satisfaction uses automatically substitutes SVG for VML (vector markup language), which IE can understand.

Further Reading

Scalable vector graphics are a relatively untapped resource in the Web designer’s toolkit. Here are more articles to get your creativity flowing:

4. Animations With Canvas

The CSS transitions that we examined above can alter any number of properties to create a lot of visual effects, but ultimately they’re still limited to CSS styles and fixed-length transitions. Is there a way to create more advanced animations?

Google’s Chrome OS features page demonstrates a hover effect that has continuous animation:

Googlechromeos in Bringing Interactivity To Your Website With Web Standards
Chrome features: each icon animates on hover.

To find out how this works, let’s start by looking at the HTML again:

<a href="features-speed.html">
    <canvas class="c1" height="150" id="canvas-uuid-1" onmouseout="javascript:hideBadge(0)" onmouseover="javascript:showBadge(0);" width="150" style="cursor: default; ">
        <img alt="" src="static/images/features-speedicon.png">
    </canvas>
 /a>

Here we have an a link that contains a canvas element (which itself contains an image). For browsers that do not support canvas, the image serves as a fallback—who said supporting IE6 was hard!

We can also see that the onmouseover and onmouseout attributes are set to trigger JavaScript functions named hideBadge() and showBadge(). This creates a behavior similar to that of the CSS :hover pseudo-class we saw in our second example.

Google’s JavaScript for controlling this is fairly extensive, but it’s basically drawing a series of SVG images onto the canvas to create the animation.

Goolechromeosassets in Bringing Interactivity To Your Website With Web Standards
The individual SVG assets for the canvas animation.

If you want to learn more about animating with canvas, then take a look at the Canvas Animation Kit Experiment (CAKE), the JavaScript library that Google uses to animate its hover effects.

How Useful Is Canvas?

Canvas is a very flexible HTML element for creating scriptable graphics and is by far the most powerful solution for interactivity and animation. By assigning similar effects to actions like click and hover with JavaScript, we can give the user a visual treat, unrestricted by the scope of HTML and CSS.

The downside? Google’s example isn’t very accessible, and the fact that the content in the canvas element is generated dynamically is a real issue. Search engines will have a hard time seeing your canvas content, and more importantly, assistive technology such as screen readers will struggle as well.

If you want to display content with the canvas element, then providing the same content in an alternate and accessible format would be considerate. Canvas is probably best used to display more visual data such as graphs, charts and diagrams. These are situations in which the content can be isolated and presented in a way that’s easier to understand.

Further Reading

A Note On Adobe Flash

Saving the best for last (well, you never would have gotten this far if I’d put this first), we have the powerhouse that is Adobe Flash. Flash is not a Web standard, but it is used extensively across the Web.

Adobe Flash provides a sandbox to create interactive content using ActionScript. ActionScript 3 shares the same ECMAScript roots as JavaScript, so learning one after the other is a relatively easy move. The problem is that Flash is a proprietary plug-in and not an open Web standard. Admittedly, it can be a lot more powerful and, in some cases (like with video), may be the only appropriate solution at present.

However, always weigh up arguments for and against Flash. You’d be amazed at what’s possible with modern standards. That said, despite the negative opinion of many Web designers and developers, Flash is still a commercially viable option. But this is becoming more and more debatable as standards progress.

To Summarize

We’ve seen some great examples of what can be achieved with Web standards today.

Here are a few points to remember:

  • HTML can be manipulated directly with JavaScript.
  • The CSS :hover pseudo-class and transition property can be combined to create a wide variety of hover effects.
  • Images can be contained within inline SVG, providing a simple way to transform them beyond the limitations of HTML and CSS.
  • canvas and JavaScript provide the most powerful (but a less accessible) solution for interactivity and animation.

These techniques can bring a website to life and enhance the user experience. But they also have the potential to make a website look like a hangover from the DHTML era. There’s no accounting for taste, so use it with care. Always focus on the accessibility of content and on user experience over eye-candy.

One Last Thought

When are JavaScript libraries required? We’ve already seen examples of canvas and SVG in which they’re used. JavaScript libraries aim to provide common functionality in order to drastically reduce implementation time. But using them for a single function can create a hefty load. Get Satisfaction uses the Raphaël library only once to manipulate the SVG image rotation. Could this have been done without Raphaël?

The answer is yes… but it’s not that simple. Browsers such as Internet Explorer don’t support SVG, and Raphaël uses VML instead. Careful research is required before rolling your own solution. It may be more difficult than you initially suspect.

There are libraries such as Modernizr in which individual functions can be isolated as required very easily, so that is always worth considering. With the new Modernizr beta preview, the situation has been recognized, and Modernizr now provides a completely custom library for your particular requirements.

(al)


© dbushell for Smashing Magazine, 2011. | Permalink | Post a comment | Smashing Shop | Smashing Network | About Us
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The Price is Right: Breaking Down the Design Process

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 in The Price is Right: Breaking Down the Design Process  in The Price is Right: Breaking Down the Design Process  in The Price is Right: Breaking Down the Design Process

Like with most creative fields, there are those who operate outside them who do not necessarily understand all of the time and energy that goes into the design process, and as a result, they tend to undervalue our contributions and imaginative creations. The design community is not at all immune to this treatment as we regularly come across a client or potential client who views our work through this sort of devaluing lens.

Without a comprehensive breakdown of our process, clients lack the insight into the project that allows them to see the amount of work that we, as designers, put into it. That is where this post comes in. For anyone who has ever turned to a designer and asked if they could simply throw something together for you or your company, we have an in-depth look at the steps involved in creative process that we call design.

Desproheader in The Price is Right: Breaking Down the Design Process

Hopefully this post can not only help potential clients better understand where we are coming from, but it can also act as a beacon and reminder for those who are new to the field and could use a little more of a glance behind the proverbial curtain to feel more comfortable and secure in their own process. We want to let the clients know that we are doing much more than just doodling in Photoshop when they hire us!

So below is the process laid out for everyone to see. Perhaps this post will help us to rise above the stigma placed upon the field by those who have not fully understood the lengths that we as designers have to go to in order to create our work, and thereby will alleviate the stress and headaches that tend to be attached to working for someone who undervalues our work in this way.

Perhaps this post can also explain why our prices tend to be higher than many people expect when they contact us for a quote. Not to mention it can shed a little bit of light on the reason why it takes us time to work out. Help the clients see why we cannot just hand them the design in the span of a day or two.

Research

Naturally, the first place that you want to turn is to the information gathering portion of the process so that we can get an idea of who the client is and exactly what we are up against in terms of putting together a design that will not only achieve their goals, but that will hopefully reach out to their audience and have lasting appeal. The best way to ensure this longevity and connectability is being pulled together into the design, is to put the time in and get the information you need to craft a unique and appropriate piece.

Begin With a Brief

There are some of us in the field who do not always rely on a full design brief in order to get us going, but it really does allow for the client to offer you their complete insight into their company. How they see themselves and their mission is an invaluable peek into who you are working for. It allows you to see things through their eyes, and in doing so, arms us better with the knowledge we need to proceed and refine those things we have learned into the design. So having the client fill out a design brief can give you a big step forward in the beginning as you try and sort out who you are working for and exactly what they need.

Check Out the Competition

Another area of research that tends to prove useful to our process is to check out the client’s competition within their field. This allows you to see how others in the field have made their mark, which can prove extremely useful as you begin hammering out an approach for your client. Not only can you see what has worked for their competitors which can help with other areas of the process, but it also lets you see what to avoid so that you do not end up copying another’s approach. Not only that, but if you have not been able to get much a feel for the industry the client works in, looking into their competition can often assist you there too.

3006517938 Bc21f4825e in The Price is Right: Breaking Down the Design Process
Get to know the people you’re working with. Image Credit

Who Is Your Audience

In the last section we mentioned seeing how some of their competitors have connected with the intended audience of your client can be useful, and this is the main way that can help. It can offer us a sense of who the audience is, and to see how they have responded to certain elements and approaches from others in the field. This can give us a leg up as a start into our process, seeing as we have seen the audience in action so to speak. We need to know who that audience is that the client wants to appeal to, because as we know, that determines a large portion of how we decide to approach them through our design.

Brainstorming

The next section that we move into after we have spent enough time gathering the information that will help point us in the right design direction, is the brainstorming part of our creative process. The brainstorming is a crucial and fluid part of the process wherein we just set our minds on the path towards our end goals and see the numerous ways in which we come up with to tackle the issue. Like a radio set to scan, we allow our minds to freely flow through our imaginations, throwing back ideas like station signals being grabbed and sampled before our minds push on for more.

Filling the Pool

The first step to brainstorming is all about the generating of ideas, not worrying about the full follow through that is required to implement each one, you are just letting them come at this point. Filling the page with various elements and approaches that you see fitting into the project, as they come to you. This is not the time to pick them apart or even determine if they can fully satisfy all your client’s needs. This step is just about the frenzy of techniques and takes that come to mind when you think about the best solution for the client. No matter how far from left field the ideas tend to come, give each one their chance to be considered, and write them down.

Sorting Through the Mess

Now that we have taken the time to come up with a list of various solutions, we have to take the time to actively pour through them, picking out the workable ideas and tossing the rest. Some designers choose to sort their ideas into more than just yes and no piles, but instead taking all of the ideas that compliment others and lumping them together into a possible solution. Sometimes this step in the process can be somewhat cumbersome as we begin compiling multiple solutions and approaches together for alternate design routes that we can take the project down. This can stil leave us with a rather large pool of solutions to whiddle down, but that is where the next step comes into play.

Distilling the Idea

Once we have sorted through the aftermath of the storm, we then begin refining the concept to help find the approaches that we think will work the best for the client. Now I say approaches, because as we begin to distill these ideas down, many designers will move forward with a couple of concepts at this point for the client to choose from. So for the most part, early on, we are refining more than one design for the client. It is not like we have taken all of our ideas, and are just tinkering with one, and given the amount of work that goes into these initial steps in the process and the number of considerations to be made and weighed, this necessary divide and conquer take is timely and thereby costly.

Sketching

Once we have the ideas that we want to move forward with, we step into the next area of the creative process, the sketching. Once again, this is an in-depth and time consuming step that the clients rarely see. So like with a few of our other steps, they do not take this part of the process into consideration when they are formulating their expectations and timelines. So here we take a look at the various levels of this step in the project to further highlight the full scope of our design process.

First Drafts

Now not all designers will do their sketches by hand, but some of us do. This adds another step to the sketching process wherein we have to transfer that which we have drawn by hand into a digital format that we then show to others. Many of our first draft sketches would not even qualify so much as first drafts as much as they would just drafts. We take passes at the idea, often multiple ones, before we digitally render a draft that can be shown to anyone. Some probably assume that we simply open up Photoshop and begin going to town, but they do not see the planning and constant navigating that actually takes us into town. These sketches and drafts are the stepping stones of progress that often are taken for granted by those not in the field.

First Draft Feedback

Once we have our first drafts to our liking, then we turn to both the community and the client for feedback on the directions that we have come up with to this point. This step is vital in the process because it effectively narrows down our final approach to the project. Once we have shown the ideas to the clients, they then decide where they want the project to go. They take in what we have shown them and they determine which route that we have devised best suites what they were looking for. And because the client is not always in the know about the specifics of the design field, getting feedback from other members of the community is also an effective tool to help us move forward and refine the ideas we have.

Back to the Drawing Board

After we have absorbed and digested all of the feedback that we receive, we then take everything back to the proverbial drawing board, and at times, a literal one in order to further refine the idea and actually move the project into the last stage of the creative process. That is why we may also want to get feedback from others in the field, because they can often provide us with more valuable feedback than the client can. The client tells us what they like and what they want, which allows us to go back to the drawing board ready to push on. However, other designers can give us more insights as to how to achieve certain effects and sharpen elements we wish to use which give us more than drawing board direction, it give us ammo.

Designing

Then we have the final step in the creative process, the actual designing of the piece. Following nearly the same pattern as the sketching only with more depth and detail, this step takes the refined idea that the client chose in the draft stage and actually designs it completely. Through hours and days of dedicated effort, we transform our drafts and sketches into the completed design that we have been working towards all along. And even with their consultation throughout the process, the clients often operate under the assumption, that this final step is the only one that we have, when in fact, there was quite a bit of work that has gone into just getting us here.

Taking Your First Pass

The first part of the design step is much like the first draft portion of the sketching section of the process, only you have a much more solid grasp on just where the design should be ending up. So we begin taking our first pass at the design, really focusing at transforming the drafts into fully functional, communicative projects that the client would be proud to call their own. And though the client may have gone in directions that we personally would not have, we still give the project our best, because we know that the project will always reflect on us, the designer. So we always put our best foot forward for each client and project, even with the first passes that we make, knowing they are bound for revisions.

Quick Insider’s Tip: Be Sure to Always Save Your Work with Layers!

Seeking Feedback

Then once we have finished the first pass on the design, we will turn to the community and client for more feedback on the progression of the piece. Some designers may skip this step thinking that they do not want to slow themselves down too much by seeking other opinions beyond the client at this point. But just like was pointed out before, others in the field can provide much more critical feedback for your designs to sharpen them overall. This is a vital part of growing your skills and progressing your work, which always benefits the client in the end. Here is where you begin asking for feedback on specific elements or solutions as well, rather than on the overall presentation. So this step is just as necessary as the rest.

Quick Insider’s Tip: If Possible Return to Same Sources For Feedback that Were Helpful on the Initial Sketches!

Final Draft and Delivery

Once we have gotten the feedback in once again, we can begin to finalize the design and finish up the project, having all of the fine tuning that we need to do within our sights and ready to be conquered. These final tweaks and adjustments can be very time consuming and very demanding as we subtly weave our design tapestry harmoniously together from the various elements that we have used to construct it. We have already found out from the client at this point, what file types the final designs will need to be delivered in, so that we can ensure they will be able to access the work they have paid for, and so once we have completed the project that is all we have left to do. To deliver the files (Once we have received the final payment of course).

3000884104 D77dc2f8a5 in The Price is Right: Breaking Down the Design Process
Image Credit

Implementation

Now the delivery is not always the final step for the designer to take, in fact, some deliveries are more project launches than they are a straight up handing over of files to the client, so that also has to be counted in the process. After all, when we are taking about all that goes into our pricing, the implementation of our designs is a crucial, and often times, the most stressful step in the entire project.

Coding

There are many people who never consider coding as part of a designer’s job, and some of those people are unfortunately designers. And while the project at hand may not require an extensive knowledge of coding to complete, most designers understand that some level of coding know-how is essential to being able to fully design a project for our clients. Even if we do not have to make the design work the way it is intended, for instance when we hand over a website design to the developers, we do have to be able to design something that can be implemented to the client’s specs and that usually requires knowing how it needs to be able to function to ensure compatibility. That required expertise is all part of the job, and that figures into our processes as well.

Usability Testing

If we are designing say a website or for an app over say a print project, then we also have to figure in time and the effort for all of the necessary usability testing that is going to be involved in the project. This could even require us to partner up with the developers to be on hand to help resolve any usability issues that are created by the design that we put together. These tests not only take time to setup and carry out, but they can also lead to problems being discovered in the work that may become timely roadblocks that we did not count on. But the importance of this step should not be underscored, for this vital element of the process can often prove to be another of the most challenging.

Feedback Sessions

Once again it is feedback time! Given the weight of the usablility testing, the following feedback sessions are also a crucial cog in our process to boot. Now before where we mentioned that you wanted to get feedback from some trusted sources that could be from within our own fields, this time we might want to widen our reach when looking for some critiques and insights on how things are working. Given that this project is more than likely going to be released unto the masses, we want to ensure that we have a sampling of users to provide us with as accurate of a reflection as possible as to how the public is going to receive it. These sessions are going to tend to be a little more time consuming and difficult to arrange and finish up than the other feedback bouts we have had to arrange.

Tweak and Launch (Hopefully in That Order)

Once we have finished compiling the feedback and processing everything that we have been given, the final tweaks that are necessary to get the design ready to launch need to be handled. This time can be stressful as our launch date more than likely looms, but not as stressful and time consuming as the launch time itself. That is when it comes down to the proverbial all hands on deck hours and the stress levels tend to go through the roof. This can also mean that our focus and time has to be strictly dedicated to this one client and this one project until that moment of truth has passed and the sighs of relief have all been breathed. This is a step in the process that also weighs heavily on the pricetag that tends to get attached to the project.

The End

In the end, the design process is a complicated and deeply consuming one that requires a lot of dedicated time and effort to complete in a professional and efficient manner. It is easy for someone looking in from the outside with little context to underestimate and undervalue exactly just how much goes into the process. They are not exposed to the complexities of each step, and the depths to which we designers have to delve to complete the project. Hopefully this post can help us to better explain to our clients and to those newbs who are teaching themselves the ins and outs of the field, just exactly what all we put into a design so that they can better understand our prices and deadlines.

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