Archive for August, 2012

Make it Stretch: Full Image and Video Backgrounds in Web Design


  

Big is the new trend around the web because nearly everyone wants it. It is imperative that one stays up on trends as a web designer. Never do you want to put yourself in jeopardy of offering someone (or yourself) a web design that is boring and outdated. It seems that almost every year or even every six months, there are new trends springing up across the web. For many the route now is go big or go home.

Today, we are going to showcase some of the best full image and video backgrounds that are offered online today. Prepare to be dazzled.

Make it Stretch

A Book of Beards

This site is dedicated to selling a coffee table book filled with pictures of beards. The site works not just because of the great beards, but because the images are the same ones in the book. Without a doubt, you’re going to want to know what the experience of the book is before purchasing it.

Volkswagen Beetle

If there’s a car on the market you’re thinking about purchasing, what do you do? You’re going to want to test drive it, see how it rides and how it looks. The wonderful thing this site does is it recreates the experience you get when driving a Beetle, from the video footage to the interface.

Beyonce

Beyonce is well known for her music, her performances and all around her brand. Every square inch of the screen in filled with her on her website by using images and video. You become enthralled in her every being by just visiting.

Sean O’Brien

You may be interested in Sean O’Brien for whatever reason, but when you go to his website, you must take notice of the reason he is who he is. Much like the Beyonce website, this site is tailored to the fun and exciting brand that is Sean O’Brien. You always have your eyes on him.

Jordan Melo M6

Carmelo Anthony stars in this website by giving viewers a walkthrough of how he created his new shoes. The perspective of the video used allows you to actually feel as if you’re talking and walking with Carmelo on this journey. It’s much more effective full screen than it is as a small view of the video.

Hiut Denim Co.

The images used in this full page site aren’t just here for decoration. They actually add to the story of the website and visually contribute to the ideas being tossed around.

Y. Co

High quality products need to have high quality offerings when it comes to web design and other types of collateral. This site dedicated to a luxury brand of yachts uses full screen video to take you inside and around the yacht.

Chicago L-Shirts

These are some nice, well designed shirts. The developer could’ve slapped them on any type of website with an e-commerce theme and called it a day. They decided to go full screen and use elements that consistently represent the brand.

DesignKitchen

There are really many ways you can approach a full screen website. This approach was to use a lot of detailed design work and display it an appealing manner. With full screen designs you have to be careful because people are seeing everything. This design figured that out and really focuses on great design work.

Pixel Pimps

Sometimes the use of many embellishments and decoration really work to make a website exciting. It isn’t always all about minimalism. This site offers great design as well as wonderful decoration and development. This person is really displaying all their skills in once place.

Modoluce

Again, full screen sites will always benefit the company that wants to show off it’s brand and what they stand for. It’s one thing to have pictures of products, but it’s really another experience to wrap your entire site in them. Modoluce figured that out and really created a website that’s all about them and their product.

Planet Propaganda

This is another example of a very detailed design centric website. Everything is well connected and makes sense as far as the user interface is concerned. The full image allows for excitement and a change of scenery along with every page to page navigation.

Hearts’ Cry Inc.

This site uses a simple execution of full page design by offering only one image as used primarily for the background. The design and development puts a focus on all the copy by essentially taking that off the full page design.

Onside Sports Agency

This is more of a minimalist approach in full page design. While we use the full image size, there isn’t a ton of busy things going on with the design. The full image actually helps to make everything interesting and fun.

Healing Histories

With the great advances in technology today, we can pretty much do anything when it comes to websites. This full page site doesn’t just tell you a story, it asks you to get interactive in picking and choosing your story.

Oh Land Music

This website for a music label allows viewers to know exactly what kind of music they create just by looking. The look is fun, fantastical with a little bit of rock. The fullness of the site makes it easy to grasp quickly.

Parachute Journalists

Designers have so much control in guiding the eyes of the viewers. This website utilizes that, first by only using one page with everything visible that’s completely relevant and helpful to their purpose. All useful, no fluff here.

Sandlewood

With furniture and renovation sites, many developers like to give lots of information with furniture placed sporadically around. Rarely is there a focus on the actual work that’s done. Here, the developer used the full page website to essentially make himself stand out and draw attention to the furniture.

Form Rausch

This website utilizes the full image development to show portfolio work in close to high res. Nobody likes going to a website to have to check thumbnails only to get to images that are as small. This helps show the detail in their work.

Twenty8Twelve

Fashion is one of those things where you have to see it in it’s entirety to really get it. If you see a good shirt on a model, you want to know what it looks like paired with the pants and shoes, etc. This website understood that and used the full page method to help display their fashions.

Ben Thomson Photography

Again, this photographer used the full image idea as a way to allow you to see the detail in their quality and composition. It also allows you to get a sense of who he is.

BlackNegative

Full image backgrounds allow for you to get really creative. This time, the creativity is highlighted in the development of this page. This is easily one of the most epic pages online right now.

Damien Hirst

Rather than just give us a big photograph or a huge video of something we can catch on YouTube, this agency used the background to tell us what they’re doing in their studio. The live feed keeps you up to date on the workings of Damien Hirst.

Alex Arts

Bigger canvased websites allow you to break out of the mold of the grid or fixed width website. That allows you to do a bit more and be a bit more creative. This page is a different approach to a portfolio, but fun to interact with and enjoy.

X-Doria

Cool interaction in a website can get you increased traffic as people are more likely to share. This site utilizes the trend and adds a bit of spice by making this site fun and easy to navigate.

Vivacitas

This developer used the trend to create his own little world. It sucks you in and gets you caught up in the wonderful design as well the movement of the page.

Adidas Design Studio

Navigating through this site requires no mouse and is exceptional. The full pages here allowed for well thought out navigation with uncluttered and easy to read information. This probably took lots of time to make, though they made it look really easy.

Ideal

One could play around with this site all day. The navigation is really outside the box and the atmosphere the design helps create is spot on with the work presented. There’s actually some pretty hilarious and great content on this site.

Elastic Minds Studios

Another great portfolio site utilizing video and images for their backgrounds. The interaction and navigation is also out of the box and well planned.

Peripheral Audio

Upon first look, many know exactly what type of group they are viewing. This site is simple yet effective, as it links viewers to all videos dealing with this group.

Conclusion

Whether you are using Flash or jQuery, making single page sites or full sites, full background websites are a great trend to hop on. It makes a lot of sense and can work for almost any brand or business. They’re great to look at (when executed well) and often exciting in a world full of mundane, cookie cutter websites. Are there any full image or video background sites you’d like to share?

(rb)


Optimizing The Design Workflow With Extensions // Adobe Fireworks


  

I’ve been using Adobe Fireworks for over a decade now and I can recommend it to anyone searching for the optimal screen design workflow. Much has been said about Fireworks’ capabilities as a design application, but today I want to focus on one of its other biggest strengths — its extensibility.

As a platform, Fireworks gives its users a lot of freedom, when it comes to extending it. Because of that, Fireworks has a thriving ecosystem of add-ons (extensions) that add a lot of valuable functionality with newer options.

In this article, I’ll try to list some of my top extensions for Fireworks. These are not necessarily the most complex or powerful extensions, but rather those that have helped me be more productive with my Fireworks workflow over the years. Also, all of these are free to test and use, so you can even try them right away!

My article is pretty detailed, so to help you navigate it, you can use the following list:

  1. Grids Panel
  2. Guides Panel
  3. Smart Resize Auto Shape
  4. Tables Auto Shape
  5. Placeholder Auto Shape
  6. Orange Commands
  7. QuickFire

Working With Extensions In Fireworks

Fireworks can be easily extended, but the extensions are installed and maintained via the Adobe Extension Manager — a tool that must be run separatey from Fireworks.

Before we review in detail the extensions that I can personally recommend, I would like to share a few general tips and suggestions on how to work with extensions in Fireworks. Although these tips are mostly geared towards Fireworks CS5 and CS5.1, there are actually only a few minor differences if you are using version CS6.

Easy fix for issues with Windows Vista / Windows 7

If you are using Fireworks on Windows Vista or Windows 7, the Extension Manager may give you strange errors when you attempt to install an extension. The easiest solution to this problem is to run the Extension Manager as administrator. Simply right-click the “Extension Manager” shortcut and select “Run as administrator”.

Note: The reason why the EM needs to be run sometimes with administrator privileges in Windows Vista and Windows 7 is simple — some extensions specify installation locations in the Program Files folder, and Windows requires administrator approval to install anything in this area, for security reasons. Usually older extensions (that were not recently updated) are installed into the Program Files folder, while new extensions are installed into the User Application Data folder. Fireworks can run extensions from either the Program Files folder or from the “User Application Data” folders in order to maintain backward compatibility with older extensions.

Where are the installed extensions located?

If you are installing Fireworks extensions for the first time, keep in mind that:

  • Commands will usually appear in the Fireworks Commands menu.
  • If an extension also installs a panel, you will find it in the Window menu.
  • If an extension installs an auto shape, it could be found in the Auto Shapes panel.

Extension descriptions

The best way to learn how an extension is supposed to work, or in which menu / submenu you’ll find it, is to look for the extension description in the Extension Manager. However, please note, that the Extension Manager lets extension developers link to descriptions online, which means that if you are not connected to the Internet, you will see empty description boxes in the Extension Manager. If you do come across these, know that a missing internet connection might be the cause.

Using shortcuts

If there are some commands that you find yourself using very often, you may want to assign keyboard shortcuts to them for gaining more productivity.

To do so, go to menu EditKeyboard Shortcuts, duplicate the default shortcuts set, then select your command from the list and add a shortcut combination of your choice. Fireworks will let you know if the shortcut you want to assign is already in use. Then, depending on what it already does, you can either choose to replace it with the new one, or select a different key combination.

Updating extensions

Updating extensions in Fireworks is pretty straightforward — you just have to open the Extension Manager every once in a while. If an extension has an update available, you’ll see a notification in the list of extensions. Then, simply select the extension and click “Update”.

Updating Extensions Using the Adobe Extension Manager
Process of updating extensions.

Please note that not all Fireworks extensions have the “Automatically Check For Updates” option built-in. So alternatively, you can simply download a newer version (if there is one available, of course) from the website where the extension was originally posted, and then run the Extension Manager. The EM will ask you if you’d like to replace the old version with the new one — select “Yes”, and the process will complete automatically.

Now that we’ve covered the basics, let’s move on to the list of extensions!

1. Grids Panel

John Dunning is a legend in the Fireworks community, and his growing list of powerful extensions often compete with themselves for the top spots as valuable and useful. His grids extension is unquestionably the first one I reach out for every time I start a new project.

In a nutshell, the extension lets you set up a grid for your design. You set the parameters (the column width, gutter width, number of columns, etc.) and it then creates a locked layer with the columns, rows and guides spanning the height of your canvas. Since there are a couple of setups that I usually prefer to work with, I’ve saved them as presets, so it’s simply a matter of opening the panel and selecting an existing preset.

For responsive designs, what I typically do is create a few grid setups for different viewport sizes. Then I simply create a new page for each breakpoint and apply the appropriate grid before pasting the content in for realignment.

Insert Grid Panel
Insert Grid Panel: Typical setup for a 12-column grid. Large preview.

The features of the grid panel are evident from the screenshot, and make it easy to control columns, gutters, and baselines as wells the appearance of the overlay (and whether or not guides should be created). If you have ever tried to set up a grid in Fireworks without this extension, you’ve wasted a whole lot of time!

Useful tip: Using Photoshop and need something similar? The GuideGuide panel might be something worth giving a try.

2. Guides Panel

As awesome as the grid panel is, it’s probably not suitable for every situation. Sometimes you may need to just create a set of guides without all of the other grid structures (e.g., if you are creating individual assets such as banner ads, rather than entire pages — grids are great for entire pages and screens, but they can be an overkill for specific components).

Also, for those of you who work extensively with guides, it often seems much easier to quickly set up the grid precisely with guides. If you are like me, and addicted to the fine control that guides offer in Fireworks (or any other design application for that matter), you most certainly would like to check out the Guides panel by Eugene Jude.

The panel gives you several options to add guides to the canvas with precise numerical control: you can set margins on either (or all) four sides, create columns and rows, or add individual guides at specific coordinates.

Guides Panel — General
Guides Panel (with the “General” tab selected in it).

You can copy entire collections of guides and paste them into another page or document, or even save sets to retrieve later (this feature is pure gold if you have a setup that you work with often, and want to reuse).

But where this panel really shines is in its ability to work with selected objects. Lets say you need guides all around and through the middle of that image you just placed in your design, so you can align objects around it. Simply select the object, go to the “Selection” tab in the Guides Panel and select the appropriate boxes. You can even set an offset value between the object and the guides.

Guides Panel — Selection
Adding guides through the center of a selected object.

Finally, there’s the ability to delete all guides, or at least only the vertical or horizontal ones (oh, how I wish I had this panel a little earlier — this would have easily saved me a couple of precious weeks every year!).

3. Smart Resize Auto Shape

Since Adobe Fireworks is used extensively for UI design, a very common use case is to create an interface element by grouping a few objects together — rectangles, text fields, buttons, etc.

Fireworks’ object-based workflow makes this an easy task (compared to Photoshop’s predominantly layer-based structure). The problem though is that once you have created such a group, resizing it can be difficult. You can’t just select the group and change its width or height, since Fireworks will simply stretch everything in the direction specified, and deformations to the individual objects will occur.

That’s where John Dunning’s Smart Resize comes into play.

Once you’ve selected a group that you need to resize, use menu CommandsSmart ResizeAttach, and the command will convert your group into a special smart object with the typical yellow resize handles.

Smart Resize: Saving Time When Resizing Groups of UI Objects
Smart Resize: Saving Time When Resizing Groups of UI Objects.

You can use these handles to resize the group in any direction and witness the magic in action. The extension will resize only elements that extend across more than 50% of the group’s size — which is typically your background boxes — and retain the rest of the elements in position relative to the closest edge of the group.

Smart Resize in Action
Smart Resize in action.

For extra control over how elements in your Smart Resize group scale or are being repositioned, you can set anchor points for each individual object. For example, elements that have their X anchor set to the left will only scale on the right side; the left edge will stay fixed in proportion with the rest of the group.

Smart Resize: Selecting Anchor Points
In this example, the X anchor was set to the left, then the group was resized.

Text boxes will be resized while maintaining their text properties intact — the height and width of the text box will change, but not the text itself. John demonstrates the extension’s usefulness when working with a mock-up of a dialog box on his website. But of course, there are many more cases where you can save time with this extension. Personally having used it for a couple of months now, I’ve found my workflow immensely optimized, especially when creating wireframes where quick changes to try out variations become the “need of the day”.

4. Tables Panel

If there is one extension in this list that I would award as the “Most Underrated”, it would have to be the Tables Panel from John Dunning.

It does something that seems very simple but is actually much more complex and tedious: building and editing tables (painlessly!) in Fireworks. It can also be an indispensable tool for editing many other design elements, including buttons, styled boxes, and placeholders.

We’ve all been there, haven’t we? Every designer knows that often the task of mocking-up a table inside a Web design (or a Web design prototype) can come up. Unfortunately, it is rare for a graphics editor to provide a decent level of support for building tables, and Fireworks is no exception. Everything from deciding whether to use rectangles for rows or individual cells, or aligning things manually every time there’s a change in the design, tables in Fireworks can be a pain.

But things change a lot with the introduction of the “Tables” extension!

Tables Panel: Easily Build Tables in Fireworks
Tables Panel: Easily build and modify tables in Fireworks.

To create a table, you simply lay out the content of the table roughly on the canvas, in the sequence you want. Select all objects, and hit the “Create” button in the Tables Panel. The extension will add individual boxes for each element and lay them out with the height and width of the biggest element that appears in a row or column. You can change the padding, decide whether you want to see the table outlines (or not), and so on — and what’s better, everything always remains editable. Lets say you changed some text in the table, and now it’s too long for the cell that contains it? Simply press the “Update” button and the table will auto-adjust accordingly!

Apart from the obvious goal of creating tables and grids, one can use the extension in a few other scenarios. For example, you could use it in adding a background and border to text boxes for pull-quotes, so that the box always adapts to the size of text.

I often find myself using it for buttons when creating wireframes. It has always been very annoying to me that I have to keep managing a rectangle and a text field every time I need a button. With this extension it’s all taken care of, and I never have to manually change the width of a new button to fit the text inside it! Besides, you can even have borders of different widths around the button by changing the border widths in the Tables Panel.

Tables Panel: Creating Dynamically-Sized Buttons Quickly.
Tables Panel: Creating dynamically-sized buttons quickly.

The Tables Panel is pretty flexible and has many other options. You can even insert a table from a text file (tab-delimited or comma-separated text file — .txt or .csv). After you select the file, the contents of the table will be inserted at the upper-left corner of the document (you can later drag the table around and position and style it in any way that you want). You can also import a table from a Web page — you’ll just need to first convert it to tab-delimited or CSV format.

Tables Panel
Tables Panel: it provides you with a high level of customization and with various options.

As you can see, the possibilities for working with tables are almost unlimited. All of this is possible again thanks to the power of Fireworks and the talented extension developers that give so much to the community!

5. Placeholder Auto Shape

If you use Fireworks extensively for wireframing, you are no doubt aware of the frustration of maintaining placeholder boxes and the necessary information contained within. I usually draw gray boxes for my images and include a descriptive label, the height and width co-ordinates within the box. The problem is, this metadata often needs to change with the size and position of the placeholder. Updating this information manually and re-aligning the text so that it is always in the center can be a pain.

John Dunning to the rescue again, with his Placeholder auto shape extension.

To create an image placeholder, pick this auto shape from the Tools panel (instead of the standard Rectangle tool), and it will draw a box with the necessary data already filled in. Every time you resize and reposition the placeholder, the coordinates will automatically update as necessary.

Placeholder Auto Shape: Dynamic Placeholders that Always Stay Up-To-Date
Placeholder auto shape: Dynamic placeholders that always stay up-to-date.

It’s interesting to mention that the Placeholder tool can be found in the Tools panel. But also, this extension installs a Placeholder auto shape, which can be found in the Auto Shapes panel. Both the tool and the auto shape do the same thing, and the difference between their use is very minor (you can select the Placeholder tool and drag it to any size on the canvas, while the Placeholder auto shape should be first dragged and dropped to the canvas, and then resized).

As you can see in the screenshot above, you can decide what information gets displayed in the placeholder. The choice is between showing a custom label for the placeholder (like “logo”, “screenshot”, “banner”, etc.), and the coordinate of the image (height, width, x & y coordinates). Clicking the crosshairs in the middle of the placeholder opens up a dialog box where you can turn these details on or off. You can also change the size and position of the paceholder precisely right from within this dialog box and change (or remove) the fill color.

Placeholder Auto Shape: Choose What Content You Want on the Placeholder
Placeholder auto shape: choose what content you want on the placeholder.

Useful tip: If you have multiple placeholder shapes in your file, you can select them and resize them all at the same time. Neat!

6. Orange Commands

If there’s anything I would call a Swiss Army Knife for Fireworks, it would have to be Orange Commands by Ale Muñoz.

Unlike every other extension in this roundup that focuses on a single task or a group of tasks, Orange Commands aim to bring efficiency to tasks across your entire Fireworks workflow. From aligning objects, to setting guides around selected objects, to combining two text objects into one — Orange Commands are a collection of small tasks that you would typically perform through a series of steps. And what’s more, they’re not only free, but are also open-source, letting anyone with enough know-how to tweak and extend them even further!

Here are a few of my favorite commands from the 100+ that this extension comes with:

  • Most designers don’t know this, but there is a way to change the alpha / opacity of a stroke in Fireworks CS5.1 as well as earlier versions. Unfortunately, to change it you will need to go into the “Edit Stroke” panel and then inside “Advanced” to get to this control — the feature is pretty much buried. Orange Commands bring this ability right up to a single click with the Stroke Alpha set of commands under Alpha.

    (Using Fireworks CS6? You’re lucky! A few new options were added in the Properties panel, which include independent control over the opacity of both stroke and fill!)

  • If you like to number your pages so they appear in a specific sequence after being exported, just set them in the right order in the Pages panel. Then hit Numberize under Pages, which adds a number in front of the name for each page. Need to change the order? Reorganize the pages and hit the command again. There is also a De-Numberize command that will let you get rid of those numbers, if needed.
  • Need to swap the position of two objects in your design? Select them and hit the Swap command under Position. Easy!
  • Fireworks has shortcuts for aligning multiple objects to each other, but you still need the Align panel if you want to align something in reference to the canvas. That’s where the Center on canvas set of commands under Align comes into play.
  • You can use the Space horizontal and Space vertical commands under Align to distribute selected objects with a specified distance between them.

This is just a small part of what Orange Commands can do. You can check out the detailed documentation for more details on what’s available.

Since Fireworks lets you assign keyboard shortcuts to all menu items, you can assign them also to your favorite commands, converting any series of steps into single, keyboard-driven actions. Although I have a few favorite ones, virtually every one of the commands has contributed to “shaving” precious seconds off my workflow, which amount to hours saved every month.

Useful tip: Did you know that Orange Commands come with their own keyboard shortcut sets that pair perfectly with the commands themselves? If you’d like to use one of them, simply copy the shortcut XML files to the “Keyboard Shortcuts” folder (see “Installation” for reference), restart Fireworks, and then select one of the “+ Extras” sets. Of course, you can can further customize these shortcut sets, as well.

7. QuickFire Command

With the large number of useful extensions available for Fireworks, it doesn’t take very long before your “Commands” menu becomes overcrowded with items. At this point it could be really difficult to get to the command you need right at that moment. On the other hand, remembering countless shortcuts for quick access of all the commands, panels and menu items in Fireworks can also be difficult.

And that’s where QuickFire comes into play. This extension is again from John Dunning, and it is a fitting tribute to the power and flexibility of Fireworks. QuickFire is similar to Quicksilver on Mac OS and Launchy or Colibri on Windows. It is a super simple, keyboard-driven interface for getting to the Fireworks command you need, without all the slow digging through various menus and sub-menus.

Once you’ve installed QuickFire, assign a keyboard shortcut to it and restart Fireworks. Then, when you hit the QuickFire key combination, you can start typing what you need. It will instantly list everything that matches what you are typing, with various icons to easily differentiate between panels, commands, auto shapes, pages and more! The most relevant item will be at the top of the list and ready to be run once you press Enter. The icing on the cake is that QuickFire works with everything in Fireworks, and not only the custom commands that you have installed.

QuickFire: Access any Command, Panel and Auto-Shape in Your Fireworks Set-Up with a Few Keystrokes.
QuickFire: access any command, panel and auto shape in your Fireworks set-up with a few keystrokes.

Let me take a real-life example to demonstrate how I use the QuickFire panel to increase my productivity in Fireworks on a day-to-day basis. Let’s say I need three lines that I need to align to each other, position them with even spaces from one another and add vertical shadows to each one. Here’s how I do it (without ever touching the mouse) once I’ve drawn and selected one of the lines:

QuickFire: Lightning Fast Editing Workflow.
QuickFire: lightning fast editing workflow.

Useful tip: When you open QuickFire and search for a specific command in the list, pressing Enter normally executes the selected command and closes the dialog, while pressing Shift + Enter runs the selected command but keeps QuickFire open — this will allow you to run several commands in a row (and save a few more keystrokes).

QuickFire offers many more productivity enhancements. It will let you:

  • Open panels quickly.
  • Insert Symbols from the Common Library.
  • Insert Auto Shapes.
  • Access standard Fireworks menu commands.
  • Apply textures and patterns to selected objects.
  • Open recent files or create new files from templates.
  • Select layers and pages, and also move or copy selected objects across layers and pages.

Again, you can check the detailed description of QuickFire and its common uses on John’s website.

Conclusion

As you have probably already guessed, I’m a huge fan of extensions and use them quite regularly in my design workflow with Adobe Fireworks. The list of extensions I use on a daily basis is much longer than what I can include in just one article — what’s covered here are just a few of them that address critical areas in Fireworks, to make a designer’s life a bit easier. And please note: in a possible follow-up to this article, I’ll try to review in detail a few more extensions that address several more specific areas within Fireworks.

Also, with the sheer number of extensions available for Fireworks, I’ve only scratched the surface of what’s possible. If you feel I missed any important ones, do let me know in the comments — I would love to learn about those and try experimenting with them myself.

(In)complete List Of Useful Resources

Finally, I think that this article should end with a list of places to get (or to learn about) the best extensions for Fireworks:

  • “Fireworks Interviewsâ€�
    The idea behind this project is to interview designers all around the world who use Adobe Fireworks on a daily basis. You’ll also see there are quite a few recommended extensions (with tips and tricks) by many skillful designers, such as: Keith Lang, Nick Myers, Benjamin De Cock, Jonathan Snook and many others.
  • “Extending Fireworksâ€�
    is all about articles on Fireworks extensions and commands, interviews with their authors and helpful tips. The website is relatively new but already has a few valuable resources posted on it.
  • “Fw Policeâ€�
    Brings many free resources to people using Adobe Fireworks — extensions, Fireworks PNG files and other freebies (by the way, the same FwPolice guys are now working on a new project that will relate to Fireworks extensions, as well).
  • “Adobe Fireworks: The Most Awesome Extensionsâ€�
    Designer Mikko Vartio talks about his favorite extensions and what they do.
  • “Favorite Adobe Fireworks Extensionsâ€�
    A long list of Fireworks extensions, prepared by UX designer Dave Hogue.
  • “John Dunning’s extensionsâ€�
    John Dunning’s extensions for Fireworks. Make sure to check all of them out!
  • “Aaron Beall’s extensionsâ€�
    Aaron Beall (who is an experienced user and developer for both Fireworks and Flash) has some pretty useful extensions, too.
  • “Matt Stow’s extensionsâ€�
    Matt Stow has a few extensions that will help any professional Web designer and developer.
  • “Fireworks extensions | Adobe Exchangeâ€�
    List of all Fireworks extensions published on the Adobe Exchange website.

(mb) (jvb)


© Ashish Bogawat for Smashing Magazine, 2012.


Usable yet Useless: Why Every Business Needs Product Discovery

Usable yet Useless: Why Every Business Needs Product Discovery

Brasília is a remarkable, bizarre city. The vision of architect Oscar Niemeyer, it was built in just four years, from 1956 to 1960. More than 50 years later, its beauty and elegance are renowned.

But Brazil’s capital city is known for something else as well: how difficult it is to live there.

A “shiny citadel” from far away, as The Guardian once wrote, up close Brasília has “degraded into a violent, crime-ridden sprawl of cacophonous traffic jams. The real Brazil has spilled into its utopian vision.”

This problem echoes across today’s web landscape as well, where the needs of ordinary users spill constantly into designers’ utopian vision. All around us we see beautiful, empty monuments erected not for their users, but for the people who built them—and the VCs who are scouting them. Even sites and apps that go beyond beauty to usability often fail because they can’t find a big enough market.

Why can’t some interactive products find enough users to be sustainable? Why are there so many failed startups, despite a renewed focus on design?

Most importantly, what can we do about it?

The rise of usable, useless products

We’ve long accepted that for a product to be useful, it needs to have acceptable levels of both utility (“whether it provides the features you need”) and usability (“how easy & pleasant these features are to use”). Yet far too often, we seem to ignore the former in favor of the latter, ending up with lots of easy and pleasant applications that have no reason to exist. One could argue that the first version of Color fell into this trap. And when’s the last time we heard something about Path?

One of the major problems that new products in particular run into is a lack of product/market fit, as Marc Andreessen has noted:

The quality of a startup’s product can be defined as how impressive the product is to one customer or user who actually uses it: How easy is the product to use? How feature rich is it? How fast is it? How extensible is it? How polished is it? How many (or rather, how few) bugs does it have? The size of a startup’s market is the the number, and growth rate, of those customers or users for that product…

The only thing that matters is getting to product/market fit. Product/market fit means being in a good market with a product that can satisfy that market.

The problem arises when startups and companies don’t spend enough time to increase the likelihood of good product/market fit before they start design and development. The Lean Startup concept of “Minimum Viable Product” is certainly useful, but shouldn’t we rather focus on Minimum Desirable Products? What’s the use of fast iteration if all it does is get us to the local maximum more quickly?

But before we get ahead of ourselves and discuss how to fix this, let’s jump into some of the all-important “why” questions.

Why products fail to fit

Brasília’s biggest problem is that the architects who designed it didn’t consider how the city would be used once millions of people were living there. They exhibited Architectural Myopia—designing for industry, not people. I’ve written before about a similar phenomenon in our industry, Designer Myopia. Lured by the recognition (and clients and VCs) they deserve, designers are drawn to being featured in galleries and list-driven blog posts that drive tons of traffic.

There is nothing inherently wrong with that need for recognition—but it is a problem when it hurts users. If Brasília teaches us anything, it’s that becoming blind to the needs of users leads us down a dangerous path where we lose control over our products, with no way to get it back. Once something has shipped, you can either iterate or pivot. Iteration is great if you’re on the right path. Pivoting is dangerous because changing course can wreak havoc on employees and users alike.

Product discovery: a better way

If we want to design better, more useful products, we need to stop designing solutions too early and start instead with product discovery: a process that helps us understand the problem properly so we don’t just design things better, but design better things.

Product discovery consists of three steps:

  • Step 1. Frame the problem and maximize the opportunity
  • Step 2. Explore and assess multiple solutions
  • Step 3. Prioritize and plan

1. Frame the problem and maximize the opportunity

It’s hard to argue with Einstein:

If I had an hour to solve a problem I’d spend 55 minutes thinking about the problem and 5 minutes thinking about solutions.

Step 1 of product discovery is that proverbial 55 minutes. Here, you should discuss and answer questions such as:

  • For whom are we solving this problem?
  • Which user needs are we trying to address? For existing products, what are the shortcomings we need to fix?
  • What customer insights do we have available to inform the solution (customer support, analytics, market research, user research, competitive analysis, etc.)?
  • How will solving this problem help our business?
  • Why is our business capable of making this solution a success?
  • How will our success be measured?

There are several techniques to structure the discussion and make it easier to get to the bottom of these questions. Fishbone Diagrams and The Five Whys are two root-cause analysis techniques that can be applied very effectively to defining a problem in terms of user needs and business goals.

This phase always—without fail—produces insights the team finds incredibly valuable. Startups gain clarity about what to say “yes” and “no” to in their product, and large corporations learn how to go beyond customer-centricity buzzwords and discover which benefits they should be selling to their users. As just one of many examples, I was once in a workshop that revealed the executives had a completely different vision for the company than the designers and developers. It was an awkward two hours, but in the end they agreed on the tough but correct decision to suspend their e-commerce plans until some of the content areas on the site had been sorted out. It’s great to see a statement of purpose emerge from these sessions—one that finally gets an organization to agree on what the product’s focus should be.

From this step, I produce a problem-frame diagram, which is simply a visual summary of the main takeaways in the form of three overlapping circles:

  • User needs
  • Business goals
  • Core competencies

Every decision the team makes should be anchored in at least one of these circles—preferably in the overlap of all three. Design decisions should focus on meeting those needs and capitalizing on the business opportunities by using the core competencies identified.

Customer journey maps are another useful output, and Megan Grocki and Jamie Thomson’s take on them is very informative. Journey maps are visual representations that help to summarize research, highlight and prioritize opportunities, and get buy-in from stakeholders.[1]

Once the problem has been defined (and agreed on by all stakeholders), it’s time to start thinking about solutions.

2. Explore and assess multiple solutions

The takeaways from problem-framing lead into a period of divergent thinking, where you produce many different possible solutions as quickly as possible—visually. Break out the pencils, and lots and lots of paper.

Rather than open your laptop too early in the design process, use sketching to produce a variety of solutions in a short amount of time. Sometimes “Move to Trash” just doesn’t cut it when you need to let go of an idea you wish you never had. There’s nothing as satisfying as crushing a bad idea and throwing it over your shoulder in disgust.

In this phase of the process, you work together to come up with storyboards, sketches, and low-fidelity prototypes to visualize ideas. It’s also a great time to start getting feedback from potential customers. And yes, let’s say it together: Everyone can draw. If Dan Roam says so, who are we to disagree?

3. Prioritize and plan

I talk to many teams who complain about “analysis paralysis”—an inability to make decisions because there are just too many factors (and people) involved. Good prioritization methods give teams comfort that even though they’re not focusing on everything at once, they are focused on the right information to make good decisions.

You can do this with a phase of convergent thinking that narrows down which ideas and solutions to explore further. There are many established processes for this type of prioritization, each designed for a different scenario:

  1. With the KJ-Method, you group similar issues together and use a voting mechanism to rank those issues in order of importance. It’s best when you have a large group of stakeholders who all have strong opinions about the product and you want to make decisions quickly.
  2. The Kano Model uses a two-dimensional axis to group issues into one of three categories: basic expectations (features that users expect as a given), excitement generators (delightful, unexpected features), and performance payoffs (features that need continuous improvement to increase user satisfaction). This method works when you want to ensure you have a balanced roadmap that addresses basic requirements, as well as innovative features that might help the product pull ahead of competitors.
  3. Amazon’s approach prioritizes large themes first, before going into individual features/projects to address those themes. It’s a good approach when the sheer number of features or improvements required feels overwhelming, and you need a way to structure and make sense of all of them.

These methods work because they facilitate teamwork without falling into the traps of “design by committee.” Everyone gets a voice, but not everyone gets to make decisions. That’s an essential attribute of any good prioritization method, because as Seth Godin says, “Nothing is what happens when everyone has to agree.”

In addition to providing the necessary structure to reach prioritization decisions quickly, these methods also produce tangible artifacts that can help you sell your ideas to internal stakeholders. User experience is often much less a design problem than it is an organizational problem. As much as we just want to do our work without obstruction, we can only be truly effective if we also make a compelling argument to people in other parts of the organization. These structured prioritization methods make that step reasonably painless by helping you produce written and visual records of your thought process.

Once done, you should be able to narrow down ideas to a select few you want to build and test—and be comfortable that those ideas have the best chances of meeting your user needs and business goals.

The output

The artifacts produced during product discovery depend on the scope and nature of the project. Sometimes it’s a few sketches on the back of a napkin that a developer uses to start prototyping; sometimes it’s a big PowerPoint document summarizing the process and key takeaways in an effort to bring senior executives along for the ride.

Regardless of the physical output, at the end of the process you should be able to answer the following questions with ease:

  • What is the problem we are trying to solve?
  • For whom are we solving it? Why should they care?
  • What’s the vision for the solution?
  • What’s in it for us?
  • What’s our implementation plan?

The real power of this process is that it will give your team comfort that you’ve introduced enough variation into the design process to ensure you’re not climbing the wrong mountain to a local maximum.

That’s fine for you

“This is nice,” I hear you say, “but we’re a fast-moving startup and we don’t have time to sit around and talk.”

You do if the alternative is failure, brought on by an unhealthy addiction to pretty things that lead to 15 minutes of fame, but not much else.

We’re entering an interesting era in web design. Retina displays might not have mass adoption yet, but it’s only a matter of time before they become the norm. We’re also seeing a level of interest in typography and graphics last experienced when color CRT monitors became a thing. There are many shiny objects out there, and if we focus on those (or focus on impressing the VCs that are focused on them) to the neglect of usefulness, we might find ourselves in a situation similar to that of only a few years ago, when we built Flash intros on every site just because we could.

In other words, product discovery is essential for startups precisely because we’re in a time of such exciting visual innovation.

We cannot let the allure of the visual tear us too far away from the usefulness of the products we develop. It is true that failure teaches us a great deal about what works and what doesn’t. But it’s so much cheaper and more effective to fail at a variety of ideas on paper than it is to fail at one full-blown, VC-backed idea. As Color can probably attest, it’s hard to come back from that.

Together, we can avoid building digital Brasílias—projects that generate buzz, but don’t meet the needs of the people who live there. So let’s discover before we build.

References

[1] If you’re new to journey mapping, see: The Anatomy of an Experience Map, Using Customer Journey Maps to Improve Customer Experience, and Building a Vision from a Journey Map.

Translations:
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Being Real Builds Trust

Being Real Builds Trust

Tons of products and services are the best, easiest, simplest, smartest, most beautiful, cost-effective, and affordable things ever. They also all increase profits, decrease costs, and save you time.

That makes your decision to choose one very easy: they’re all the best! No matter which one you pick, it’ll be perfect!

Or so it seems, anyway.

These kinds of qualifiers overrun our content because we’re constantly looking around at what everyone else is doing. We compare our own websites and portfolios against other people’s. We look at competitors’ sites, then compare how our interfaces and feature sets are different.

After we’ve surveyed what exists out there, then we try to be unique. One of the ways we do this is by describing “how we’re different” from (and better than) others like us. Consultants might talk about their unique process. Companies might design graphics that position their “features and benefits” side-by-side against their competitors’.

The problem is, this shifts the context of the conversation to external factors beyond our control. What other people do online has nothing to do with us or our users.

Our best chance for establishing trust with our users is to be honest. After all, trust inspires confidence. And it’s confidence—not just a knowledge of differences—that compels decision-making.

Perhaps we should stop fixating on what makes us different and, instead, acknowledge the real aspects of who we are, what we do, and why people choose us.

How can we start getting real?

Ask your mom

One way we can establish trust with users is by cutting the crap and getting real with our content. I do this with the Mom Test.

For me, no one on earth is better at calling me on my crap than my mom. She worked hard to birth me, raise me even when I was incredibly annoying, and guide me as I struggled through all my melodramatic “Who am I?” crises. All while deftly managing millions of dollars for an entire school system in Ohio.

So whenever I write content, I apply the Mom Test to ferret out hidden marketing or business jargon. Here’s how it works: I write content, then read it out loud while imagining my mom is listening. (Sometimes she actually is. Call your mom; she misses you.)

If at any point I envision my mom saying, “That sounds nice, Steph,” then I know it’s not real enough. The goal of this technique is always to elicit an actual reaction from her, like “Oooh, can I use it?” or “When is this event happening, again?” These substantive “What next?” responses indicate that she really understood.

I learned to do this years ago, when I was applying for editing jobs using a cover letter with this sentence:

I constantly analyze the best ways to leverage communication avenues in order to reach target audiences and inspire them to engage.

I wasn’t getting any responses to my applications, so I whined to my mom about it. She asked me to send her what I had written. I did. It massively failed the Mom Test.

She asked me point-blank questions like, “What are communication avenues?” and “Engage in what?” Yikes. I had applied to many jobs with that impossibly unreal sentence. I felt sheepish.

She told me to be honest and specific, so I took her advice. Here’s the rewrite:

I constantly edit and analyze. I think of new ways to deliver messages through websites, newsletters, speeches, novels, dissertations, research studies, RFPs, donor letters, press releases, and other forms of communication.

This passed the Mom Test. I thought it was too wordy (and still do), but she was adamant I keep it straightforward. She’d seen enough resumes in her lifetime to know that being real was my best hope of getting an interview.

She was right. I ended up getting a call right away—and later a job—at a startup called WCSN.

Getting real about user assumptions

Six years later, I’m still applying the Mom Test. Except now it comes earlier in my process: I use it to identify unrealistic assumptions I’m making about my users, well before I craft any content.

I start by writing down my assumptions about what my users care about.

Then I ask, “Would my mom ever say these things out loud?”

If the answer is “no,” then my assumptions are probably a stretch. I need to try harder to get at the kernel of beautiful truth. I keep going until my assumptions all sound like something my mom would actually say out loud.

As an example, let’s say we run SuperCool Web Agency. We want potential clients to choose us, so we create a page on our site called “Our Approach” to describe how we’re better:

We don’t force-feed you a solution. Instead, we listen to your business needs. Then our experienced team implements the most suitable technology to support your unique goals.

Now, keep in mind that this content is aimed at helping a potential client (who may not have domain expertise of the web) choose us over competitors because of our better approach.

Is this content helping a potential client trust us?

Let’s apply the Mom Test. First, we’ll dissect that paragraph for assumptions we’ve made about the user. Here are several:

  • I value this kind of approach
  • I know how technology influences my business goals
  • I think a cookie-cutter approach is an inferior approach to websites
  • I only hire experienced teams

These sound too stiff and business-driven; my mom would never say them. But rather than jump into rewriting the paragraph, let’s first make the assumptions more realistic. I could imagine my mom saying these things:

  • I don’t want to feel stupid
  • I want to hire people I trust
  • I want to have a say in the final product
  • I want to feel valued
  • I’m nervous about this decision

So now that my user assumptions are more realistic, I can rewrite the paragraph itself:

Some clients prefer we take the lead and deliver fast. Others want to work with us for as long as it takes to get it right. But no matter your preference, we’ll try our darndest to accommodate.

Cheesy? Perhaps. Pass the Mom Test, both in the assumptions and in the content itself? You bet.

Your mom may not be your target user, but she is a real person who’ll call you on your bullshit. That’s what this exercise is about: forming real assumptions, and then writing what’s real as a means to establish trust.

Having realistic assumptions first better enables us to write real content later. But traditionally, we don’t do this—instead, we write content first that answers the question, “What are we trying to communicate?”

I hope you can imagine your mom calling you on your crap, too. But perhaps your Mom Test is actually a Husband or Wife or Brother Test. Whomever it may be, use that person to keep you real. (He or she probably already does that anyway.)

Yet beyond the Mom Test, the rewritten paragraph speaks to the user’s emotional needs in a more human way.

Being real builds trust. And trust helps users more confidently make a decision.

Sameness is a problem

A challenge to establishing trust is that building it takes time, and time is precious. We only have a sound bite to convey worth to a user. We have real deadlines to meet.

These challenges aren’t overcome by the formulaic approach we’ve learned to accept. They’re why every car company is “best-in-class,” every cell phone carrier has the “most coverage,” and all consultancies are “full-service.”

Why pressure users to make a choice based on the same absolutes your competitors claim?

For example, I don’t know what differentiates a great TV from a crap TV (technically speaking). But that didn’t stop me from showing up at Best Buy, where I listened to sales pitches filled with words like “smart technology” only to then ask topical questions like, “Does this one come with a stand?” At H. H. Gregg, a salesperson told me I “couldn’t go wrong with the LG or Samsung,” yet I felt anxious about both. I went home exhausted and confused. I felt embarrassed that I couldn’t make a decision about a damned TV. Which TV was best for me, and from which store was it best to buy? (Best Buy pun not intended.)

Amazon restored my sense of confidence. It had more than 1,000 reviews from real people, plus warranties for half the price but twice the coverage. White-glove delivery two days later only made me more confident—an emotional feeling that the box stores didn’t inspire in me.

I trusted I was making the best decision for me.

This made me feel happy.

Write real things

Not all of us have thousands of user reviews, better prices, or faster delivery. That’s OK, because we do have other assets. (And if we don’t, we have bigger issues than how to position ourselves online.)

We often overlook our own assets because they’re real. Real things aren’t flashy, polished, or perfect. That’s often what makes them an asset in the first place.

For designers, maybe your assets are those sketches you created in college or while listening to a conference speaker. Just because they weren’t created for a client doesn’t make them any less valuable in demonstrating your creative skills. You can still write about those sketches.

For developers, maybe it’s that Android app you quietly released that has 50 downloads and 5 stars with no marketing at all. Or it’s a peer’s email that states, “I don’t know how you fixed that, but thank you. You’re awesome.” You can still write about your side projects and the praise you’ve received from colleagues.

For organizations, maybe it’s a quote from the intern who wrote a blog post about how amazing it was to work there for the summer. Or perhaps a client or customer sent a kind email to one of the higher-ups. What did these people say, exactly?

The bottom line is that familiar-yet-generic approaches to positioning ourselves in this world work against our ability to build trust with those around us. Don’t spend any more of your creative energy on fluff. Write real things that pass the Mom Test.

If you need a little inspiration, ask your users, employees, clients, colleagues, or friends this question: Why do you trust me? Why do you trust my company? I bet their answers don’t include words like cross-platform, leverage, or utilize.

Instead, they’ll probably use plain-speak language chock full of emotional adjectives like confident or happy. Words that’ll make you blush with pride.

After all, people don’t edit themselves when they’re telling you why you’re awesome. That means you get real feedback that highlights specific assets about you.

For example, I recently asked Jared Spool why he keeps working with me. He said, “You get what we’re trying to do. I can have a very short conversation and somehow magic comes out of your fingertips. My theory is it has to do with mushrooms or some other hallucinogenic.”

The reality is more benign: I work super hard to make it seem easy. But he knows that well—well enough to unabashedly make such a joke in the first place. Best of all, he described two of my assets: an ability to comprehend ideas quickly and to write content in a way that seems magical.

A hallmark of realness is specificity. People will get specific if you ask them why they care about you, your product, or your company.

Real is trustworthy. Trust in that.

Translations:
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Portugese


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Adobe Illustrator Tutorial: Create a Set of Sleek Web Ribbons


  

In the following Adobe Illustrator tutorial you will learn how to create a set of sleek web ribbons. We’ll start with two simple shapes and some basic masking techniques. Next, using a simple rectangle and some simple vector shape building techniques we’ll create the overall ribbon shape. Once we have the starting shapes we’ll continue with the smaller parts. Using some Pathfinder options, several Warp and Gaussian Blur effects plus some basic blending techniques we’ll add the final touches.

As always, this is the final image that we’ll be creating:

Step 1

Open Illustrator and hit Control + N to create a new document. Enter 600 in the width and height box then click on the Advanced button. Select RGB, Screen (72ppi) and make sure that the "Align New Objects to Pixel Grid" box is unchecked before your click OK. Now, turn on the Grid (View > Grid) and the Snap to Grid (View > Snap to Grid). Next, you’ll need a gridline every 5px. Go to Edit > Preferences > Guides & Grid, enter 5 in the Gridline every box and 1 in the Subdivisions box.

You can also open the Info panel (Window > Info) for a live preview with the size and position of your shapes. Do not forget to set the unit of measurement to pixels from Edit > Preferences > Unit > General. All these options will significantly increase your work speed.

Step 2

Pick the Ellipse Tool(L) and create a 250 by 40px shape. Fill it with the linear gradient shown below, lower its opacity to 50% and go to Effect > Blur > Gaussian Blur. Enter a 5px radius and click OK. Bear in mind that the yellow zero from the gradient image stands for opacity percentage. Switch to the Rectangle Tool(M), create a 350 by 50px shape, fill it with black and place it as shown in the second image. Reselect both shapes, open the fly-out menu of the Transparency panel, click on Make Opacity Mask then uncheck the Clip box. In the end your masked ellipse should look like in the third image.

Step 3

Pick the Rectangle Tool(M), create a 180 by 75px shape, fill it with the linear gradient shown below and place it as shown in the following image. The white numbers from the gradient image stand for location percentage.

Step 4

Reselect the rectangle created in the previous step and go to Object > Path > Add Anchor Points. Keep focusing on this shape and grab the Direct Selection Tool(A). Select the middle, bottom anchor point and drag it 15px up. In the end your shape should look like in the second image. Move to the Layers panel, double click on this shape and name it "Ribbon".

Step 5

Focus on the top, right corner of the shape edited in the previous step. Pick the Rectangle Tool(M), create a 10px square, fill it with the linear gradient shown below and place it as shown in the following image. Focus on this new shape, grab the Delete Anchor Point Tool(-) and click on the top, right anchor point. This will remove the anchor point turning your square into a triangle.

Step 6

Disable the Snap to Grid (View > Snap to Grid) then go to Edit > Preferences > General and make sure that the Keyboard Increment is set at 1px. Reselect the triangle shape created in the previous step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px to the right using the right arrow from your keyboard.

Reselect both copies, open the Pathfinder panel and click on the Minus Front button. Fill the resulting shape with black and lower its opacity to 15%. Focus on this new shape, grab the Delete Anchor Point Tool(-) and get rid of the top, right anchor point. In the end your shape should look like in the fourth image.

Step 7

Reselect the triangle shape created in the fifth step and make two, new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 3px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with black and lower its opacity to 15%. Focus on this new shape, grab the Delete Anchor Point Tool(-) and get rid of the top, right anchor point. In the end your shape should look like in the fourth image.

Step 8

Reselect the triangle shape along with the two shapes created in the previous two steps and group them (Control + G). Make sure that this new group is selected and go to Effect > Warp > Arc Upper. Enter the data shown below and click OK.

Step 9

Enable the Snap to Grid (View > Snap to Grid). Reselect the group created in the previous step and go to Object > Transform > Reflect. Check the Vertical button and click on the Copy button. This will create a horizontally flipped copy of your group. Select it, drag it to the left and place it as shown in the third image. The Snap to Grid will ease your work.

Step 10

Reselect "Ribbon" and focus on the Appearance panel. Select the fill and go to Effect > Warp > Shell Lower. Enter the data shown below and click OK. Make a copy of "Ribbon" (Control + C > Control + F), select it and go to Object > Expand Appearance. Move to the Layers panel, double click on this new shape and name it "RibbonExpanded".

Step 11

Disable the Snap to Grid (View > Snap to Grid). Reselect "RibbonExpanded" and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 5px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Ungroup the resulting group of shapes (Shift + Control + G). Delete the thin, right shape and fill the other one with white. Also, lower its opacity to 40% and change the blending mode to Soft Light.

Step 12

Reselect "RibbonExpanded" and make two, new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 10px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Ungroup the resulting group of shapes (Shift + Control + G). Delete the thin, right shape and fill the other one with black. Also, lower its opacity to 20% and change the blending mode to Soft Light.

Step 13

Reselect "RibbonExpanded" and make two, new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 5px to the left. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Ungroup the resulting group of shapes (Shift + Control + G). Delete the thin, left shape and fill the other one with white. Also, lower its opacity to 40% and change the blending mode to Soft Light.

Step 14

Reselect "RibbonExpanded" and make two, new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 10px to the left. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Ungroup the resulting group of shapes (Shift + Control + G). Delete the thin, left shape and fill the one shape with black. Also, lower its opacity to 20% and change the blending mode to Soft Light.

Step 15

Reselect "RibbonExpanded" and make two, new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the following image.

Step 16

Reselect "RibbonExpanded" and make two, new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 2px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the following image and change its blending mode to Soft Light.

Step 17

Enable the Snap to Grid (View > Snap to Grid). Pick the Ellipse Tool(L), create a 240 by 45px shape, fill it with a random color and place it as shown in the first image. Select this new shape along with "RibbonExpanded" and click on the Intersect button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the following image, lower its opacity to 40% and change the blending mode to Overlay.

Step 18

Reselect "Ribbon", focus on the Appearance panel and add a second fill using the Add New Fill button. Select it, drag it in the bottom of the Appearance panel, make it black, lower its opacity to 7% and go to Effect > Warp > Shell Lower. Enter the data shown below, click OK and go to Effect > Warp > Arc Lower. Enter the data shown below, click OK and go to Effect > Distort & Transform > Transform. Enter the properties shown in the following image and click OK.

Step 19

Reselect "Ribbon", focus on the Appearance panel and add a third fill. Select it, drag it in the bottom of the Appearance panel, make it black, lower its opacity to 10% and go to Effect > Warp > Arc Lower. Enter the data shown below, click OK and go to Effect > Distort & Transform > Transform. Enter the properties shown in the following image and go to Effect > Blur > Gaussian Blur. Enter a 3px radius and click OK.

Step 20

For the following step you will need a grid every 1px. So, go to Edit > Preferences > Guides & Grid and enter 1 in the Gridline every box. Pick the Rectangle Tool(M) and create a 280 by 1px shape. Place it as shown in the following image, fill it with the linear gradient shown in the first image then send it to back (Shift + Control + [ ).

Step 21

Let’s add a simple background for our ribbon. Pick the Rectangle Tool(M), create a shape the size of your artboard, fill it with R=190 G=190 B=190 and send it to back (Shift + Control + [ ).

Step 22

Disable the Grid (View > Show Grid) and the Snap to Grid (View > Snap to Grid). Reselect the thin rectangle created in the twentieth step and make a copy in front (Control + C > Control + F). Select it and move it 1px down using the down arrow. Make sure that your copy is still selected, focus on the Appearance panel and replace the existing linear gradient with the one shown in the following image.

Step 23

Pick the Type Tool(T) and add your text. Set its color at R=42 G=92 B=5 then go to Effect > Stylize > Drop Shadow. Enter the data shown below and click OK.

Step 24

Reselect the rectangle used for the background, focus on the Appearance panel, add a second fill and use the radial gradient shown below. Keep focusing on the Appearance panel and add a third fill for this shape. You’ll need a built-in pattern for this new fill. Go to the Swatches panel, open the fly-out menu and go to Open Swatch Library > Patterns > Basic Graphics > Basic Graphics_Textures.

A new window with a set of built-in patterns should open. Make sure that your background rectangle is still selected, focus on the Appearance panel and select that third fill. Lower its opacity to 20%, change the blending mode to Multiply and add the "USGS 19 Land Inundation" pattern.

Step 25

Finally, here’s a quick technique that you can use to recolor your ribbon. Select all the shapes that make up your ribbon and go to Edit > Edit Colors > Recolor Artwork. Click on the Edit button, make sure that the "Recolor Art" and the "Link Color Harmony" buttons are checked then play with the color handles.

And We’re Done!

Once again, here’s how your final result should look.

Now that we have made it to the end, we would like to know your thoughts on this new tutorial. Leave us your two cents in the comments.

(rb)


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