Design

Styling buttons in iOS WebKit and -webkit-appearance:none

I just recently ran into an issue when styling buttons that had me pulling my hair for a while. I had my buttons looking the way they were supposed to look in desktop browsers, but when I went to have a look in Safari for iOS, much of my CSS wasn’t applied.

This was pretty puzzling as I couldn’t remember having any problems with buttons in Safari for iOS before. After taking a closer look at the CSS I was using for these particular buttons and the CSS I had used previously, I managed to find out what made the difference.

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Copyright © Roger Johansson



How To Set Up A Print Style Sheet





 



 


In a time when everyone seems to have a tablet, which makes it possible to consume everything digitally, and the only real paper we use is bathroom tissue, it might seem odd to write about the long-forgotten habit of printing a Web page. Nevertheless, as odd as it might seem to visionaries and tablet manufacturers, we’re still far from the reality of a paperless world.

In fact, tons of paper float out of printers worldwide every day, because not everyone has a tablet yet and a computer isn’t always in reach. Moreover, many of us feel that written text is just better consumed offline. Because I love to cook, sometimes I print recipes at home, or emails and screenshots at work, even though I do so as rarely as possible out of consideration for the environment.

Print style sheets are useful and sometimes even necessary. Some readers might want to store your information locally as a well-formatted PDF to refer to the information later on, when they don’t have an Internet connection. However, print styles are often forgotten in the age of responsive Web design. The good news is that a print style sheet is actually very easy to craft: you can follow a couple of simple CSS techniques to create a good experience for readers and show them that you’ve gone the extra mile to deliver just a slightly better user experience. So, how do we start?

Getting Started

Let’s look at the process of setting up a print style sheet. The best method is to start from scratch and rely on the default style sheet of the browser, which takes care of the printed output pretty well by default. In this case, insert all declarations for printing at the end of your main style sheet, and enclose them with this distinct rule:

@media print {
   …
}

For this to work, we have to prepare two things:

  1. Include all screen styles in the separate @media screen {…} rule;
  2. Omit the media type for the condensed style sheet: <link rel="stylesheet" href="css/style.css"/>

In rare cases, using screen styles for printing is the way to approach the design of the print style sheet. Although making the two outputs similar in appearance would be easier this way, the solution is not optimal because screen and print are different kettles of fish. Many elements will need to be reset or styled differently so that they look normal on a sheet of paper. But the biggest constraints are the limited page width and the need for an uncluttered, clear output. Building print styles separately from screen styles is better. This is what we will do throughout this article.

Of course, you could separate the declarations for screen and print into two CSS files. Just set the media type for the screen output to media="screen" and the media type for printing to media="print", omitting it for the first one if you want to build on the screen style sheet.

To illustrate, I have set up a simple website of the fictional Smashing Winery.

screenshot
Our example website.

Everything needed for a proper screen display is in place. But as soon as the environment changes from virtual pixels to real paper, the only thing that matters is the actual content.

screenshot
The two pages of the unaltered print preview. The header is not yet optimal, and both the main navigation and footer are superfluous.

Therefore, as a first task, we will hide all the clutter: namely, the main navigation and footer.

header nav, footer {
display: none;
}

Depending on the type of website, you could also consider hiding images by default. If the images are big, this would be wise, to save your users some printing costs. But if the images mainly support the content, and removing them would compromise the meaning, just leave them in. Whatever you decide, limit the images to a certain width, so that they don’t bleed off the paper. I’ve found that 500 pixels is a good compromise.

img {
max-width: 500px;
}

Alternatively you could also rely on the tried and trusted max-width: 100%, which displays images at their maximum size but not bigger than the page width.

You might want to use a simple trick to get high-quality images when printing. Just provide a higher-resolution version of every image needed and resize it to the original size with CSS. Read more about this technique in the article “High-Resolution Image Printing� on A List Apart.

Of course, we should hide video and other interactive elements, because they are useless on paper. These include <video>, <audio>, <object> and <embed> elements. You might want to consider replacing each video element with an image in the print style sheet, too.

screenshot
With the main navigation, footer and images gone, the actual text is getting ever closer to center stage. But work remains to be done, especially with the header.

Adjusting To The Right Size

To define page margins, you can use @page rule to simply apply a margin all the way around the page. E.g.:

@page {
margin: 0.5cm;
}

will set the page margin on all sides to 0.5cm. You can also adjust the margins for every other page. The following code sets the left page (1, 3, 5, etc.) and right page (2, 4, 6, etc.) margins independently.

@page :left {
margin: 0.5cm;
}

@page :right {
margin: 0.8cm;
}

You can also use the :first page pseudo-class that describes the styling of the first page when printing a document:

@page :first {
  margin: 1cm 2cm;
}

Unfortunately, @page is not supported in Firefox, but supported in Chrome 2.0+, IE 8.0+, Opera 6.0+ and Safari 5.0+. @page :first is supported only in IE8+ and Opera 9.2+. (thanks for the tip, Designshack)

Now let’s tweak some general settings for the fonts. Most browsers set the default to Times New Roman, because serif fonts are considered to be easier on the eyes when read on paper. We can use Georgia at 12-point font size and a slightly higher line height for better legibility.

body {
font: 12pt Georgia, "Times New Roman", Times, serif;
line-height: 1.3;
}

However, to retain some control, we should explicitly set the font sizes below. The chart on ReedDesign gives us a feel for this; but with all of the screen sizes and resolutions out there, these are only rough estimates.

h1 {
font-size: 24pt;
}

h2 {
font-size: 14pt;
margin-top: 25px;
}

aside h2 {
font-size: 18pt;
}

Apart from special cases (like the <h2> heading, which would otherwise be too close to the preceding paragraph), we don’t need to touch the margins or appearance of any elements, because they are handled quite nicely by the default settings. If you don’t like that certain elements are indented, such as <blockquote>, <ul> and <figure>, you could always reset their margins:

blockquote, ul {
margin: 0;
}

Or you could override the default bullet style in unordered lists…

ul {list-style: none}

…and replace it with a custom one; for example, a double arrow (and a blank space to give it some room):

li {
content: "» ";
}

You could also make <blockquote> stand out a bit by enlarging it and italicizing the text.

The Header

Currently, the remaining things to be dealt with in the header are the <h1> title and the logo. The first is there just for accessibility purposes and is hidden for screen display using CSS. While we could use it as a sort of header in the print-out to indicate the source of the content, let’s try something more attractive. Wouldn’t it be nice to display the actual logo, instead of the boring text?

Unfortunately, the “Winery� part of the logo is white and therefore not ideal for printing on light-colored paper. That’s why two versions of the logo are in the source code, one for screen display, one for printing. The latter image has no alt text, otherwise screen readers would repeat reading out “Smashing Winery.�

<a href="/" title="Home" class="logo">
   <img src="img/logo.png" alt="Smashing Winery" class="screen"/>
   <img src="img/logo_print.png" alt="" class="print"/>
</a>

First, we need to hide the screen logo and the <h1> heading. Depending on the relevance of the images, we might have already decided to hide them along with other unneeded elements:

header h1, header nav, footer, img {
display: none;
}

In this case, we have to bring back the print logo. Of course, you could use the adjacent sibling selector for the job (header img + img) to save the class name and live with it not working in Internet Explorer 6.

header .print {
display: block;
}

Otherwise, you could just use header .screen (or header :first-child) to hide the main logo. And then the second logo would remain. Keep in mind that in print layouts, only images embedded via the <img> tag are displayed. Background images are not.

Voilà! Now we have a nice header for our print-out that clearly shows the source of everything. Alternatively, you could still remove the second logo from the source code and use the header’s <h1> heading that we switched off earlier (in other words, remove it from the display: none line). Perhaps you’ll need to hide the remaining logo as we did before. Additionally, the font size could be enlarged so that it is clearly recognized as the title of the website.

header h1 {
font-size: 30pt;
}

As a little extra, the header in the print-out could show the URL of the website. This is done by applying the :after pseudo-element to the <header> tag, which unfortunately won’t work in IE prior to version 8; but because this is just a little bonus, we can live with IE’s shortcoming.

header:after {
content: "www.smashing-winery.com";
}

To see what else these pseudo-elements can do, read the description on the Mozilla Developer Network, or consult Chris Coyer’s excellent article on CSS-Tricks.

Another thing about IE 6 to 8 is that HTML5 tags can’t be printed. Because we’re using these tags on the example website, we’ll have to apply Remy Sharp’s HTML5shiv in the header. The shiv allows you not only to style HTML5 tags but to print them as well. If you’re already using Modernizr, that’s perfect, because the shiv is included in it.

<script src="js/html5.js"></script>

Unfortunately, the behavior of the IEs is still a bit buggy even when this shiv is applied. HTML5 tags that were styled for the screen layout need to be reset, or else the styling will be adopted for the print-out.

Some developers add a short message as a supplement (or an alternative) to the displayed URL, reminding users where they were when they printed the page and to check back for fresh content. We can do this with the :before pseudo-element, so that it appears before the logo. Again, this won’t work in IE 6 or 7.

header:before {
display: block;
content: "Thank you for printing our content at www.smashing-winery.com. Please check back soon for new offers on delicious wine from our winery.";
margin-bottom: 10px;
border: 1px solid #bbb;
padding: 3px 5px;
font-style: italic;
}

To distinguish it from the actual content, we’ve given it a gray border, a bit of padding and italics. Lastly, I’ve made it a block element, so that the border goes all around it, and given the logo a margin.

To make it more discreet, we could move this message to the bottom of the page and append it to main container of the page, which has the .content class. If so, we would use the :after element and a top margin to keep it distinct from the sidebar’s content. As far as I’m concerned, the URL is indication enough, so I would rely on that and omit the message.

Finally, we need to remove the border of the logo to prevent it from showing in legacy browsers, and move the <header> away from the content:

img {
border: 0;
}

header {
margin-bottom: 40px;
}

screenshot
The header shown two different ways, one with a logo and simple URL, and the other with a message and the title in plain text.

The Missing Link

Obviously, on paper, links aren’t clickable and so are pretty useless. You could try to build a workaround, replacing links with QR codes on the fly, but the solution may not be feasible. To put the links to use, you could display the URL after each string of anchor text. But text littered with URLs can be distracting and can impair the reading experience; and sparing the reader excessive information where possible is advisable.

The best solution is the :after pseudo-element. It displays the URL after each anchor text, surrounded by brackets. And the font size is reduced to make it less intrusive.

p a:after {
content: " (" attr(href) ")";
font-size: 80%;
}

We’ve limited this technique to links within <p> elements as a precaution. To go a step further, we could choose to show only the URLs of external links. An attribute selector is perfect for this:

p a[href^="http://"]:after {
content: " (" attr(href) ")";
font-size: 90%;
}

The possibilities for links in printed documents seem to be almost endless, so let’s try some more. To distinguish all internal links, let’s precede them with the website’s domain (omitting all the other properties, to keep things concise and clear):

p a:after {
content: " (http://www.smashing-winery.com/" attr(href) ")";
}

Then, we can hide internal links (#), because there is not much to display:

p a[href^="#"]:after {
display: none;
}

Also, external links will be appended as is, like above. Let’s consider SSL-secured websites, too (i.e. ones that begin with https://):

p a[href^="http://"]:after, a[href^="https://"]:after {
content: " (" attr(href) ")";
}

But there is one thing to remember, especially with external links. Some are very long, such as the ones in the Safari Developer Library. Such links can easily break a layout, like at the screen output. Luckily, a special property takes care of this:

p a {
word-wrap: break-word;
}

This breaks long URLs when they reach a certain limit or, as in our case, when they exceed the page’s width. Just add this property to the first of the above declarations. Although this property is basically supported in a wide range of browsers — even IE 6 — it works only in Chrome when printing. While Firefox automatically breaks long URLs, Internet Explorer has no capability for this.

Finally, we set the link color to black to improve the experience for readers.

a {
color: #000;
}

screenshot
URLs, whether internal or external, now show up beside links with special treatment.

Aaron Gustafson went one step further and built the little script Footnote Links. According to the description:

This script builds a list of URIs from any tags within a specified container and appends the list as footnotes to the document in a specified location. Any referenced elements are given a dynamically-assigned number which corresponds to the link in the footnote list.

Aaron’s article on A List Apart “Improving Link Display for Print� gives more insight into the idea behind this script.

While we’re at it, letting readers know where quotes come from, such as those wrapped in <blockquote> and <q> tags, would be thoughtful. Just append the cite attribute (which will be the URL) after quotation marks, like so:

q:after {
content: " (Source: " attr(cite) ")";
}

Side By Side

We haven’t yet dealt with the sidebar content. Even though it appears after the main content by default, let’s give it some special treatment. To keep it distinct, we’ll give the sidebar a gray top border and a safe buffer of 30 pixels. The last property, display: block, ensures that the border shows up properly.

aside {
border-top: 1px solid #bbb;
margin-top: 30px;
display: block;
}

To separate it even more, we could set a special print property:

page-break-before: always;

This will move the contents of the sidebar to a new page when printed. If we do this, we can omit all of the other properties.

screenshot
The sidebar on screen (left) and printed out (right). I’ve grayed out everything else to make it more obvious here.

We could do the same for comments. Comments don’t appear in the example, but they’re still worth touching on. Because they sometimes run long, omitting them in the print-out might be reasonable (just set display: none for the whole container). If you do want to show the comments, at least set page-break-before. You can also use page-break-after: always if there is content to print on a new page. The page-break-before and page-break-after properties are supported in all major browsers.

We can also use widows and orphans properties. The terms derive from traditional printing, and they take numbers as values. The widows property sets the minimum number of lines in a paragraph to leave at the top of a page before moving them entirely to a new page. The orphans property sets the number of lines for the bottom of the page. The orphans and widows properties are supported in IE 8+ and Opera 9.2+, but unfortunately not in Firefox, Safari or Chrome.

Now that we have taken care of the sidebar, the print style sheet is ready! You can download it here. The file is fully documented and so can serve as a helpful reference or starting point.

screenshot
The completed print style sheet.

Just For Fun

You might be asking, “Why can’t we just put the sidebar next to the main content, like on the website itself?� Well, the screen and print outputs are a bit different. Unlike the former, print-outs aren’t very wide and thus don’t have much space to fill. But depending on the font size, the line length could exceed the maximum of 75 characters and so be more difficult to read.

In this case, we could, of course, limit the width of the main content (preferably not too much — we shouldn’t set the line length to fall below about 55 characters) and then absolutely position the sidebar just below it, just like in the screen display. But describing this method falls beyond the scope of this article, so please consult the screen style sheet of the example website (line numbers 112 and 141 and down).

In my humble opinion, avoid such experiments. While in principle, print layouts have endless possibilities, focusing on the content and removing everything else is better. The better way to ensure an optimal line length is just to shrink the page’s width or enlarge the font size.

Preview Made Easy

Print Preview by Tim Connell is a handy little jQuery plugin that replicates the built-in print-preview function, but with one difference. Instead of opening a separate page, it shows a sleek overlay, with “Close� and “Print� buttons at the top. It also has the convenient “P� shortcut. You might want to check out the demo page, too.

A Missed Opportunity

Imagine that you were able to visit any page, hit “Print� and get an optimized version of the page to enjoy on paper. Unfortunately, we don’t live in this perfect world. Some websites still rely on JavaScript to generate print versions, and many other designers simply don’t care. But this is a missed opportunity. A carefully composed print style sheet could be used not only for printing but to optimize legibility for screen reading.

As the website owner, you can determine the images to display (if any), the optimal font and size, and the presentation of other elements. You could make the content more appealing than the versions produced by Instapaper and Readability by giving the print version the extra attention it deserves.

The Future

While using CSS3 for screen layouts is pretty common nowadays, it hasn’t quite established itself in the print environment yet. The W3C has an extensive description of “Paged Media,� but unfortunately support is very limited at the moment, Opera and Chrome being the only browsers that enable a few of its related properties. With decent support, it would be possible to use the @page rule to set the dimensions of the page, switch to a landscape view, alter the margins, and do much more. Even media queries are were conceived to respond to different page sizes.

Websites Designed Well For Print

Let’s take a look at some examples of websites optimized for print.

A List Apart
The slick multi-column design is simplified into a single column, full width, which intuitively mirrors the website’s sensible hierarchy. Article titles and authors are no longer active links. And beautiful clean typography is kept intact, thanks to the compatible fonts and simple colors; no font change is necessary, although the font-size value increases slightly. Advertising and affiliate styles are hidden, and the result is a simple, clean printed page that easily conforms well to any printer or page set-up in the document. A List Apart is exemplary, save for one important point: the logo does not appear anywhere in the print-out.

A List Apart

A List Apart

Lost World’s Fairs
The smooth printed page helps to carry the visuals of the website for Lost World’s Fairs. The main title and its colorful background are swapped for a simplified version in the print-preview style. However, some images could be removed to save some expensive printer ink. (Updated).

Lost World's Fairs

Lost World's Fairs

The Morning News
One would expect most news websites to employ the print-preview function, yet that isn’t the case. The Morning News has prepared its content for print without much concern, happily excluding background images and color, while still getting its message across.

The Morning News

The Morning News

James Li
James Li has designed his personal website exceptionally well for this purpose, carefully preserving all spacing and key elements. The logo is a part of the printed product, whereas the navigation links are not: very clever, because navigation has no value on a printed page unless it is informative in and of itself. Non-Web fonts are converted to simple printable ones (see “Other Stuff…�). Brilliantly executed for print.

Infinitum

Infinitum

TechCrunch
TechCrunch’s recent redesign tweaked not only the visual design of the site, but also the small details that have to be considered when the site is viewed on mobile or printed out. The print layout is very clean and minimalistic, without unnecessary details, yet also without links to the actual page that was printed out. The TechCrunch logo is omitted as well.

TechCrunch

TechCrunch

R/GA
Although the logo isn’t present in the printed version of this website, attention is paid to the spacing of the content within. While the Web version has simple lines and a clean space, the printed page tightens up elements in order to best use the space. A strong grid and effective typography add to the effect. In this example, some images could be removed as well.

r/ga

r/ga

Studio Mister
An excellent job of the print-preview function. The page has been meticulously designed to a grid and requires little in order to prepare it for print; some attention to the background color of text and not much else. Unfortunately, though, the logo is a background image and thus excluded.

Studio Mister

Studio Mister

Bottlerocket Creative
Although this logo isn’t represented in the print-out either, the folks at Bottlerocket Creative have done very well to adapt their typographic style for offline viewing. Assuming the design was created mainly with images would be easy, but meticulous attention to type is evident upon closer inspection.

Bottle Rocket

Bottle Rocket

OmniTI
OmniTI has optimized its content for print not by shrinking the main column, but by increasing the size of the text and not crowding the images together. The playful look adheres to good spacing. The only drawback? Many of the line breaks have been eliminated, causing some words and sentences to run into each other.

Omni TI

Omni TI

In Conclusion

There’s a lot to consider when preparing your website to be printed out by readers. The process forces you to scrutinize every element of your content like never before, all because someone will want a hard copy of your work. Yet most of all, it’s important to recognize the difference between printing and actually reading. Perhaps these techniques hold merit in helping you visualize content for mobile devices. What better way to kill two birds with one stone than to work out your layout for the mobile while considering printing view at the same time to make sure that your content prints flawlessly for offline archival? The time you invest could double in value.

For more information on preparing content for print, including by modifying CSS, check out the following articles:

(al) (vf) (il)


© Christian Krammer for Smashing Magazine, 2011.


How to Improve as a Graphic Designer


  

One of the major threats to your career as a graphic designer is to let your work stagnate and your improvement slow down. It’s very easy to fall into a comfort zone where you stop exploring new design techniques and simply stick with what you know. This is why most designers experience the greatest learning curve early on, and why after they ‘find their style’ their future improvement is far more limited.

Today I want to argue that designers should never ‘find their style’. They should always strive to try new styles, to continually improve, and to push beyond their comfort zone. Imagine if you continually improved at the rate you did early in your design career – I’m betting that you’d be a better designer than you are today!

Let’s explore some of the ways to improve as a designer:

Read Design Tutorials

Design tutorials are a fantastic way to improve your skillset. Tutorials usually show you how to make a specific outcome by explaining the entire work process in a series of detailed steps. Tutorial sites usually cover a range of different categories, such as text effects, photo manipulations, web layouts etc… Try to explore a range of tutorial sites, as well as tutorial categories in order to broaden your design skills.

Design Improvement

It’s important to read a high quality of tutorial. Many sites publish tutorials that actually teach bad technique (for example, the classic example of photo retouching skin using the gaussian blur tool). It’s also important to not merely skim the tutorial as eye candy. Try to focus on the workflow and techniques that are used, rather than just checking out the final outcome. The sites below all offer high quality tutorials to improve your technique:

  • Psd.Tutsplus.com
  • PSD.FanExtra.com
  • Abduzeedo
  • I can also highly recommend the Russell Brown Show for brushing up on Photoshop’s huge array of tools, and uncovering techniques you never would have thought of.
  • Seek Inspiration From a Wider Variety of Sources

    The number one killer for design inspiration is limiting your sources of inspiration. I’ve already mentioned the importance of design tutorials, but you should look beyond online inspiration. Offline influences can have a tremendously positive effect upon your designs. Inspiration lies everywhere – in nature, in the everyday, bizarre, and transitory. Look to films, art, posters, street signs and photography. The more varied your inspiration, the more varied your work. If you let all the creativity available in the world benefit you, your work will be richer and more profound.

    Design Improvement

    Instead of merely skimming over design blogs today, why not try one of the following ideas for inspiration:

  • Take a long walk in a picturesque area. If you have a camera bring it, and photograph anything that grabs your attention.
  • Go and visit some local exhibitions that interest you. Look for interesting photography, art and design galleries in your area.
  • Flick through any magazines or newspapers lying around your house. Rip out elements that catch your eye and pin them on a board as an inspirational collage.
  • Choose to Design From Something Specific

    Often it can be difficult to improve because you consistently design around the same themes. Broadening your inspirational sources is a good start, but I find that designing around a specific idea can also be beneficial. Rather than designing a photo manipulation around the theme of ‘nature’ for example, why not design around a specific quote, song lyric or even memory. The more personal the specific influence the better, although it can also be interesting to design around an abstract or obscure entity.

    Design Improvement

    When you have selected your lyric, memory, quote, or other influence, try and consider the following:

  • How does it make you feel? What emotions does it evoke?
  • What colors, shapes and images do these emotions evoke?
  • Try to consider more abstract interpretations, perhaps opposites, relating images, and such.
  • Utilize Your Other Relevant Talents

    As you may have guessed by now, it’s crucial to add diversity to your design work, as this is a key ingredient in improving. A great way to do this is to bring in some of your other talents. If you draw, then scan in hand drawn elements and integrate this into your design work. If you do calligraphy then implement what you’ve learnt into your digital typography. If you have no relevant creative skills (which is unlikely) then learn some! Take a class, or if you can’t afford that teach yourself. The more areas which you feel confident in creatively, the better your digital work will be.

    Design Improvement

    Why not try the following ideas, you should feel more inspired afterwards, which in turn should improve your regular design work:

  • Take a step away from the computer and create an offline work of art. Aim to design a mixed media piece using whatever talents you possess. If you can’t draw, why not create a creative collage?
  • Print off some of your digital work and mess around with it using more traditional art tools. It feels liberating to mess it up a little, so get out the scissors and go nuts!
  • Try to recreate one of your favorite digital designs in an offline medium. You’ll be surprised at how much you’ll learn about the basic ideas behind your original composition in doing so, and you should formulate some great ideas on how to improve your digital work.
  • Be Passionate, Be Original

    Don’t follow design trends simply for the sake of it. There are thousands of images out there that look almost exactly the same, and this shows no attempt to improve at the hands of the designers. Always strive to produce original, unique work.

    The greatest way to be original is to be passionate. If you’re copying others you’re never going to feel passionate about your work. However, if your design inspiration comes from within, and you really care about what you’re producing then it will show through in the quality of your work. A great way to feel more passionate about your work is to design around something that you really care about (perhaps love, loss or friendship), or perhaps even a political or social cause that’s important to you.

    Design Improvement

    Here are some ideas to evoke more passion and originality in your design work:

  • Produce a piece inspired by a loved one. Try to pour how you feel about this person into your composition.
  • Think of both the best and worst moment in your life. Produce a piece inspired by each. Be honest and transparent in this, don’t hide behind anything.
  • Produce a visual diary for a limited time. For instance, you could record a week of your life in a series of 7 compositions.
  • Don’t Just Welcome Feedback – Seek it Out!

    Feedback is one of the best ways to improve as a designer. Other designers can cast a fresh look over your work and often offer hugely helpful tips to help you improve. You can receive feedback through a number of sources, and I encourage you to maximize all of them. Try looking for feedback at reputable design networks, your personal blog, your social networking accounts, or even friends and family.

    Design Improvement

    I recommend the following design networks for getting some quality feedback on your work:

  • Behance Design Network
  • Deviant Art Community
  • UCreative Design Network
  • Consider Paid Resources

    I discovered this method pretty late in my design career. For years I avoided paying for anything apart from my software, preferring to use free resources for all my work. I have to be honest, after trying out some premium fonts, photos and vectors the money is honestly worth it. If you’re really serious about improving your design work I recommend finding the highest quality resources to use in your compositions. Don’t settle for a lower quality image simply because it’s free, this will only hold you back.

    Another reason for using premium resources is that there are a limited number of quality free resources. This means that these quality freebies have been used thousands of times by designers, and have lost much of their impact. How many times have you seen ‘generic jumping figure covered in Photoshop light effects’. Premium resource websites offer a wider, more unique, higher quality selection, and if you’re using these as part of your commercial work I’m sure you’ll see a financial return due to your improved designs.

    Design Improvement

    Feel free to continue using free resources if this suits you. However, I’m just saying from personal experience that I’ve seen a huge jump in quality in my work since switching to premium resources. Here are some of my favorite sources for these:

  • Fotolia – Premium Stock Photos
  • MyFonts – Premium Fonts
  • (rb)


    Exporting From Photoshop





     



     


    Congratulations. You’ve just completed a pixel-perfect mock-up of an app, and you’ve gotten the nod from everyone on the team. All that’s left to do is save the tens, hundreds or maybe even thousands of production assets required to bring it to life.

    It’s probably the least interesting part of designing software, usually entailing hours of grinding. Saving images to multiple scales — as required by iOS and other platforms — adds complication to the process. But there are ways to streamline or automate the exporting process.

    Copy Merged

    Screenshot

    Cutting up a design with the “Copy Mergedâ€� feature is fairly easy: ensure that the layers are shown or hidden as needed; draw a Marquee selection around the element; choose Edit → Copy Merged, and then File → New; hit Return; and then “Paste.â€� The result is a new document with your item isolated, trimmed to the absolute smallest size possible.
    From here, all you need to do is save the image using “Save As� or “Save for Web & Devices.�

    Rinse and repeat for every image needed for the app or website. The technique is simple and quick, but repetitive; and if you ever need to export the images again, you’ll have to start from scratch.

    This seems to be the most common method and, for some designers, the only method, which is a shame, because better techniques exist.

    You could create an action that triggers the “Copy Merged,â€� “New,â€� “Pasteâ€� process — a small time-saver, but ultimately not much of an improvement to the workflow.

    Export Layers to Files

    Screenshot

    If you’re lucky, and your goal is to export a lot of similar images (typically with identical dimensions), you might be able to use Photoshop’s “Export Layers to Files� script.

    By choosing File → Scripts → Export Layers to Files, each layer of the document will be saved as a separate file, with a file name that matches the layer’s name. This means you’ll probably have to prepare the document by flattening all of the elements that you’d like to export down to bitmap layers — a time-consuming process, but often quicker than using “Copy Merged.â€� It could also trim the size of the resulting file, if you choose to remove completely transparent areas.

    I can’t say that I’m a fan of the script’s Flash-based UI or of the way it works, but “Export Layers to Files� is handy if your desired result fits its limited range of use cases.

    Slices

    Photoshop’s Slice tool lets you define rectangular areas to export as individual images, with some limitations: only one set of slices can exist per document, and slices cannot overlap (if they do, then smaller rectangle slices will be formed). During the ’90s, the Slice tool was a good way to create table-based Web layouts, filled with images. These days, designers far more often need finer control over how images are sliced, especially when creating efficient, dynamic designs, typically with images that have transparency. But, with a twist on the original concept, the Slice tool can be put to great use.

    Sprite Sheets With Slices

    Screenshot

    Sprite sheets are commonly used in CSS and OpenGL games, where texture atlasing can have significant performance benefits. A similar method can be employed to build UI elements in Photoshop, even if the result is a set of images, rather than one large image.

    By spreading out the elements that you need to export as a flat sprite sheet, you eliminate the need for slices to overlap. If there are too many elements to comfortably fit in one document, you can create multiple documents, eliminating the need for more than one set of slices per document.

    The other benefit to working like this is that you’ll no longer need to build your main design documents with the same level of precision. Occasionally using a bitmap or forgetting to name a layer is fine, because you’ll have a chance to fix things when preparing the sprite sheet for exporting. But it does mean that the original mock-up document could get out of sync with the export documents if you make changes (for example, to adjust colors or layer effects).

    Because we’re interested only in user-created slices, it might also be a good idea to click “Hide Auto Slices� (in the options toolbar when the Slice Select tool is enabled) and to turn off “Show Slice Numbers,� under “Guides, Grid & Slices� in Preferences. This way, you’ll remove unnecessary clutter from Photoshop’s slice UI.

    Screenshot

    After you’ve created a sprite sheet with the slices all set up correctly, you’ll be able to export all of the images at once, using “Save for Web & Devices.â€� Assuming you’ve done things correctly, you’ll be able to scale up by 200%, save all of your Retina images, and then batch rename them (adding @2x to the file names) — or scale them down, if you built everything at Retina size to begin with.

    Layer-Based Slices

    If your UI element is one layer and you’d like the exported image to be the smallest possible size, you might want to consider using a “Layer-Based Slice.� To create one for the currently selected layer, choose “New Layer-Based Slice� from the Layers menu. A Layer-Based Slices moves, grows and shrinks with the layer it’s associated with. It also takes into account layer effects: strokes and shadows increase the size of a Layer-Based Slice, so the effects are included. Less control, but more automated.

    My Exporting Workflow

    For years, I’ve used Copy Merged as my primary exporting method, and used Export Layers to Files when it made sense. That was a poor choice. Sprite sheets have so many advantages, especially in medium- to large-scale projects, that the set-up time is made up for very quickly. This is even truer when exporting Retina and non-Retina images: each set can be exported in a few clicks and is far less likely to have issues with file names or sizes due to its automated nature.

    It also creates an environment in which modifying production assets is easy, allowing for faster iteration and more experimentation. It lowers the barrier to improving artwork during development and when revising the app or website.

    And that’s a very good thing.

    (al) (il)


    © Marc Edwards for Smashing Magazine, 2011.


    The Big Think: Breaking The Deliverables Habit





     



     


    Right there in the center of my boilerplate for design proposals is a section that I glare at with more resentment each time I complete it. It’s called “Deliverables,� and it’s there because clients expect it: a list of things I’ll deliver for the amount of money that I specify further down in the document. Essentially, it distills a design project down to a goods-and-services agreement: you pay me a bunch of money and I’ll give you this collection of stuff. But that isn’t what I signed up for as a designer. Frankly, I don’t give a damn about deliverables. And neither should you.


    (Image: Snoggle Media)

    Case in point: for months now, I’ve worked consistently with a particular client for whom I do almost no work on actual design artifacts (wireframes, prototypes, etc.). Rather, I hold frequent calls with the main designer and developer to go over what they’ve done with the product (i.e. poke holes in it) and what they should do next (i.e. help prioritize). Some days, they hand me wireframes; sometimes, a set of comps; other days, live pages. Whatever the artifact, our purpose is always to assess what we have now versus where we need to get to. We never talk about the medium in which these design ideas will be implemented; we focus strictly on the end result, the vision of which we established long ago and continually refer to. And in working this way, we’ve been able to solve countless significant problems and dramatically improve the client’s website and products.

    It’s not about deliverables. It’s about results.

    Understanding why this works depends on understanding the real role of the designer and the deliverables they create.

    A Designer’s Work

    First, consider the role of a designer compared to what we actually spend most of our time doing.

    What designers are hired to do — the reason why companies seek out designers in the first place — is what my friend Christina Wodtke calls “The Big Thinkâ€�: we’re hired to solve problems and develop strategies, determining what needs to be achieved and making design decisions that help to achieve it. But because companies have a compulsive need to quantify The Big Think, designers end up getting paid to create cold hard deliverables. Our very worth, in fact, is tied intrinsically to how well and how quickly we deliver the stuff. Heck, we’re often even judged by how good that stuff looks, even when much of it goes unseen by a single user.

    Is this how it should be done? Absolutely not.

    Hiring a designer to create wireframes is like hiring a carpenter to swing a hammer. We all know that the hammer-swinging is not what matters: it’s the table, the cabinet, the deck. Clients don’t hire us to wield hammers, but to create fine furniture. It’s not the process they need or the tools, but the end result.

    In theory, companies understand this. In practice, not so much. They cling to the deliverables.

    The Essence of Deliverables

    So let’s look at what a design deliverable really is.

    The purpose of a design artifact, whether a wireframe, prototype or sketch, is to illustrate our thinking. Pure and simple. It’s part of the thinking process. It’s also, according to some, a record to look back on later to aid when reconsidering decisions, tweaking the design and so on. But let’s be honest: people rarely look back at these documents once the design grows legs and starts walking on its own. More often than not, significant changes result in new wireframes, and minor tweaks are made on coded screens, not back in the deliverables that we were paid so much to create.


    (Image: HikingArtist.com)

    Most of the time, design artifacts are throwaway documents. A design can and will change in a thousand little ways after these documents are supposed to be “complete.� In terms of allocating time and budget, design artifacts can be downright wasteful. They can even get in the way; designers could get attached to ideas as they transition to functioning screens, precisely when they need to be most flexible. Every design is speculation until it’s built.

    Like it or not — and some of you will surely disagree — we can survive with fewer deliverables. Of course, what this looks like depends on how you work.

    Breaking the Deliverables Habit

    The most important parts of any design project are the vision of the end result, the requirements for it, the design itself, and a way to measure its success.

    Interestingly, only one of these parts involves complicated design artifacts. The vision is merely a statement that describes the purpose and desired outcome. Requirements are but a list. Success metrics? Another list. The only part that involves more than a simple, concise summary is the design itself. And nothing requires that process to involve layer upon layer of wireframes, prototypes and comps before going to code. (More on how to change this in a minute.)


    (Image: lucamascaro)

    Comps, of course, are a must when graphics are involved; in addition to necessarily being the source of the graphic files to be used in the actual design, they define the visual language, the specifics of layout, spacing, typography, etc. Creating wireframes, on the other hand, as quick as it is compared to creating coded screens, can take much longer than going from sketch to code. So, consider cutting the load down to what’s most essential and useful: the interaction model.

    In other words, you don’t have to create wireframes and comps for every idea or every screen; just for the toughest screens, the ones that define the most crucial interaction paradigms. Use them to iron out the model, not every last detail.

    It’s time for more design and less stuff. Consider the revised process below.

    1. Strategy Document

    Distill your research on users and the business down to a short vision statement on what the user’s experience should be like. Add to this a list of design criteria (specific guidelines or principles for the design), as well as success metrics (how you will know that the design is achieving your goals). You should be able to do all of this within just a couple of pages; and keeping it short will help to ensure that everyone reads it.

    2. Activity Requirements

    Write a list of tasks that users should be able to perform, and functions that the system should perform that will benefit users. Prioritize the ones that will appear on the screen.

    3. Sketch

    To apply the design criteria and meet (or exceed!) the requirements, sketch a dozen or so ideas — in Keynote, on paper or on a whiteboard — and then take pictures of the sketches. Sketch the toughest, most complicated and most representative screens first. These will frequently determine the interaction model for most of the design.

    4. Comp and Code

    If you’re not doing the visual design yourself, collaborate with the graphic designer to iron out the details of the most representative screens and any other screens that require graphics. At the same time, collaborate with the developers to identify issues and areas for improvement throughout the process.

    Forget the lengthy strategy documentation. Forget the deck of wireframes. Just short summaries (long enough to get the point across, but short enough to be able to do quickly), sketches and comps, limited to the things that need to be brought to a boil in Photoshop. Skimping on the deliverables can save a lot of time.

    Untying Deliverables From Project Fees

    Of course, sufficing with this shorter list of artifacts and untying deliverables from your fees require a change to the design process. In short, we need to shift the emphasis from documentation to collaboration.

    Set the expectation from the beginning that you will work with stakeholders collaboratively. They will help you think through the design at every step. You will not be a wireframe monkey. Rather, you’ll focus on The Big Think. And you’ll do it together. If the client is unwilling or unable to spend time and energy on the design as you develop it, find another client. A client who is too busy to get involved in the process is a client who doesn’t care about their customers.

    Collaboration is essential to great design. No one person can think of everything or always have the best ideas for every aspect of a product. It takes a group to make this happen. This might require you to occasionally browbeat the client into being available for frequent discussions on new and developing ideas, but the result will be infinitely better. And with the added input, you can focus less on stacks of deliverables and more on converting rough ideas into comps, prototypes and/or functioning pages that give undeniable weight to those ideas.

    In practical terms, this means working closely and constantly with the visual designers and developers (assuming you’re not doing this work yourself). And it means frequently reviewing what’s being done and discussing at a deep level and at every step how to make improvements. It means talking through every detail and making sure someone has the job of being the resident skeptic, questioning every idea and decision in the interest of pushing the design further.

    Break The Habit

    By focusing on The Big Think, the deliverables will matter less. And for a designer, focusing on beautiful products is a whole lot more rewarding than dwelling on the step by step of deliverables. On your next time out, consider breaking the deliverables habit. Go from idea to code in as few steps as possible. Hefty amounts of collaboration can cure the sickly feeling that you’re an overpaid wireframer, empowering you to build designs that you know are killer work.

    (al)


    © Robert Hoekman Jr for Smashing Magazine, 2011.


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