Design

Media queries, viewport width, scrollbars, and WebKit browsers

When fine-tuning some media queries I noticed that layout changes seemed to happen at different window widths in Safari than in Firefox or Opera. When making the browser window narrower, media queries that specify a max-width kicked in a bit earlier in Safari.

The difference seemed to be around 15 pixels, so I thought it might be related to the vertical scrollbar. After reading the section about width in the Media Queries specification, I think Safari (and the other WebKit browsers I have tested in) are not following the spec, while Firefox and Opera are.

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Time-Saving and Educational Resources for Web Designers

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Web design community is strong and hard-working. We have plenty of useful resources, tools and services created, developed and released every single day: apart from goodies such as free fonts or icons, there are also many educational resources and little time-savers that can significantly improve designer’s workflow. We permanently look out for the new projects and support them by presenting them on Twitter, Facebook, in our e-mail newsletter and, evidently, in Smashing Magazine’s posts.

Today we are glad to present one of such posts: an overview of handy new resources for web designers; most of them were released recently, but some of them are a bit older. Still, they were included to supplement the overview, making the post more comprehensive and complete. Please feel free to discuss the featured resources in the comments to this post. And, of course, thank you guys for creating and maintaining all these useful resources. Your efforts are deeply appreciated.

Useful Resources for Web Designers

Fonts in Use
This site presents a catalogue for real-world typography samples and innovations in branding, advertising, signage and publishing. The regularly updated collection of trends and case studies is commented on by typography experts and gurus from around the world. The sharp, interesting comments and discussions will keep you engaged, all backed up by real examples.

Fonts-in-use1 in Time-Saving and Educational Resources for Web Designers

Note and Point: Keynote and PowerPoint Gallery
Note and Point highlights the most beautiful Keynote, PDF and PowerPoint work on the Web, which happens to be mostly Web design-related, although various topics are covered. No doubt these presentations — which really do look that much better — might surprise you by the attention given to color, illustrations and typography.

Note-point in Time-Saving and Educational Resources for Web Designers

Free High-Quality HTML Email Templates
The page presents 38 free HTML email templates (including PSD and HTML files), created by talented professional designers. Every template has been tested in more that 20 popular email clients, including Outlook 2010, Gmail, Lotus Notes, Apple Mail and the iPhone. All of the Photoshop documents are layered and ready to be tweaked. You can download all of the templates for free (320 MB) and use them for any private or commercial project. In case you use Campaign Monitor to send out newsletters, you’ll also get Campaign Monitor’s templates as an extra goodie. Mailchimp users can choose from the professional templates for Mailchimp.

45royale in Time-Saving and Educational Resources for Web Designers

The Grammar Cheat Sheet
Never mix up your dashes again, learn how to set quotations marks and remind yourself to keep paragraphs short and topical. Overall, this article is a nice little overview of suggestions that would help you improve the quailty of your copy. For a closer examination of what else might go wrong, check out “The Trouble With EM ‘n EN (and Other Shady Characters)” by Peter K Sheerin.

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FPO: For Print Only
For Print Only is a blog that is dedicated to everything related to pint design. FPO celebrates that print is not dead by showcasing the most compelling printed projects. Print is alive and well as witnessed by this well organized and inspirational resource.

Print in Time-Saving and Educational Resources for Web Designers

Graphic Atlas: History of Printing
The site is a virtual study collection that showcases printing processes from early woodcuts to modern digital print. The print-identification tool guides you through a number of explorations that replicate the experience of identifying prints using common tools. Among other things, you’ll learn about such printing techniques as relief, letterpress, gravure, silver-dye bleach, dye sublimation and direct thermal. The object explorer allows you to view two images side by side to compare traits across processes. Characteristics such as size, format, color, texture, sheen and layer structure are explained as well.

Graphics-atlas in Time-Saving and Educational Resources for Web Designers

Smarthistory
Smarthistory.org is a free and open, not-for-profit art history textbook. The website covers a wide variety of the artwork usually found in art history classes, ranging from ancient cultures to post-colonialism. In addition to the audio and video, Smarthistory contains articles and images organized by style and chronology. As a bonus, the user interface itself is worth looking at. The appealing design and intuitive navigation (which allows you to browse by era, style, artist and theme) makes this experience not only educational but enjoyable. A comprehensive overview of the seeds that helped sew the graphic design field.

Smarthistory in Time-Saving and Educational Resources for Web Designers

The Photoshop Etiquette Manifesto for Web Designers
This site lays out a number of guidelines for creating Photoshop files and workflows that are conducive to productivity and team collaboration. By following these guidelines, you make it easier for others to work with your files, and more likely that your project will go smoothly. Some of the things included are common-sense (proofread before exporting), but others aren’t necessarily something you’d think of if you’re not used to collaborating or working on big projects (use folders, keep logos as vector smart objects). It also includes helpful illustrations for each example, so there’s no confusion.

Manifesto in Time-Saving and Educational Resources for Web Designers

Desks Near Me
This site features places all over the world that designers and developers might like to work in, be they offices or cafés. The website provides detailed information, including hours of operation and reviews. Some places charge a small fee for use, and many throw in a few goodies like food, drink and access to equipment.

Desks-near-me in Time-Saving and Educational Resources for Web Designers

Dark Design Patterns
Dark Design Patterns aims to expose these black-hat designs whose sole aim is to misdirect and deceive visitors. Anti-usability design patterns that are currently identified on the website include the “Roach Motel,” “Bait and Switch,” “Privacy Zuckering” and “Forced Information Disclosure,” among others. Examples of each are included, and visitors can add their own in the comments on each page. It’s a great website to show clients when they ask you to implement a questionable “feature” on their website.

Darkpatterns in Time-Saving and Educational Resources for Web Designers

The Anatomy of a Perfect Landing Page
Formstack explains how design translates to users and ten key landing page features that draw them in. A useful breakdown of elements to include in your designs and things to keep in mind during your design-work.

127-useful in Time-Saving and Educational Resources for Web Designers

100 Principles for Designing Logos and Building Brands
Inspiration can come from anywhere, but sometimes the simpler the better. From Brand Identity Essentials, here are some principals for designing logos and building brands. These cover example shapes, consistency, voice, meaning and flexibility.

126-useful in Time-Saving and Educational Resources for Web Designers

Design Is History
A wonderful reference site for all designers and provides brief overviews of a wide range of topics — for us, designers, it is improtant to understand where design originates from.

172-useful in Time-Saving and Educational Resources for Web Designers

NounProject
NounProject provides a huge collection of highly recognizable symbols, available for free download and use. The designers are committed to quality in what they do, and so the icons are indeed designed very well.

153-useful in Time-Saving and Educational Resources for Web Designers

Ethics for Web Designers
Robot Regime is dedicated to ethics and Web design, and it discusses what our ethical obligations are — to ourselves, our colleagues and our clients. The site already features some nice pieces, including posts about fair pricing, misrepresenting yourself as a designer and giving clients what they want.

Robotregime in Time-Saving and Educational Resources for Web Designers

Politely Decline Speculative Work
“I won’t do free design work to win your business — here’s why” is a Web page that offers a stock letter you can send to clients explaining why spec work is bad for everyone involved. It’s concise and professional, and it presents clear arguments against spec work, with links to additional information. Plus, you can personalize the letter by adding the recipient’s name to the end of the URL.

Rfp in Time-Saving and Educational Resources for Web Designers

Type Tips
A nice short overview of quick useful tips on all things related to Web typography by Harry Roberts from CSS Wizardry.

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OnTwik
The website brings together lectures, screencasts and conferences from around the world. Both expert and novice developers and designers should be able to find topics of interest, whether it’s CSS and HTML5 or start-ups and creativity. Ontwik is free, and anyone can suggest content for the website; you can even submit your own lectures.

Ontwik1 in Time-Saving and Educational Resources for Web Designers

Design Moo
“Join together and share valuable free Web design resources.” This could be the slogan of this design community, created and curated by front-end developer Chris Wallace. The project is a network of designers and a high-quality collection of free design resources: fonts, icons, illustrations, patterns, textures and Web layouts. All goodies are tagged for easy navigation, and you can follow new releases on Twitter. You might want to check Boxtuffs and Premium Pixels as well, another websites featuring free high-quality resources.

Designmoo in Time-Saving and Educational Resources for Web Designers

Design Kindle: Free High-Quality Design Files
This site offers a ton of free high-quality design files that you might actually want to use, all without restrictions on personal or commercial use. Everything from design elements to images to full themes is included. Design Kindle doesn’t have a big library of files just yet, but more are sure to be added soon.

Designkindle in Time-Saving and Educational Resources for Web Designers

365psd: A Free PSD Every Day
Every day, this site offers a free PSD file for you to download. These files are almost all design elements that you can use in Web and application designs, including buttons, progress bars, navigation elements and more, and they are well designed. Currently, there are more than 300 days worth of freebies, all tagged, browsable and searchable.

365psd1 in Time-Saving and Educational Resources for Web Designers

Guidelines for Mobile Web App Design
This article presents a comprehensive list of links to official user interface and user experience guidelines from various manufacturers. The guidelines include samples, tips and descriptions of common weaknesses for mobile platforms such as iPhone, iPad, Android, BlackBerry, Symbian, webOS and Mee Go. Many of the guidelines focus on native application development, but they can be applied to design of mobile applications in general, too.

Mee-go in Time-Saving and Educational Resources for Web Designers

List of Freely Available Programming Books
Here is a list of programming books on programming languages or about computers in general with open-source licenses and others. If you’ve been searching for some freely available programming books on the Internet, this list will surely give you some good tips.

159-useful in Time-Saving and Educational Resources for Web Designers

Secure Password Generator
The tool lets you enter parameters, including the length of the password, whether to include uppercase and/or lowercase letters or numbers or punctuation and whether to eliminate characters that resemble each other (such as i and l, 1 and I, and o and 0). Then, just select the number of passwords to generate, and it returns a list. It even includes phonetics for each password to make it easier to read out loud (in case you’re giving a password to someone over the phone, for example).

Passwordgenerator in Time-Saving and Educational Resources for Web Designers

Keyonary
This tool is a nice little application for finding shortcuts in Mac OS X, Photoshop and so on. Currently, more than 300 Photoshop shortcuts are available. Simply type the name of application in the search box, and it spits out a long shortcut list.

Keyonary1 in Time-Saving and Educational Resources for Web Designers

Let’s Swap
A place where artists and designers can swap art for free. The site is an experiment: if you are an artist or designer, you probably have something hanging around and you’ll be willing to swap it for something else. The site gives you the opportunity to do exactly that; just put out an open invitation and see what happens. Very interesting idea.

168-useful in Time-Saving and Educational Resources for Web Designers

Starting with Git: Cheat Sheet
After freshening up her git skills, Loma Jane Mitchell shares her ‘cheat sheet’ — the commands that she uses on a day-to-day basis when working with git. Also note that GUI tools and IDE plugins are available for Git, so it is worth taking a look at what is available for the development environment you use.

144-useful in Time-Saving and Educational Resources for Web Designers

Rails 3 Cheat Sheets
The site provides Rails 3 Cheat Sheets for Activemodel, Actionmailer and Actioncontroller, XSS protection and UJS, Activerelation, Bundler and Routing API.

152-useful in Time-Saving and Educational Resources for Web Designers

Bounce Rate Demystified
If you are doing business on the web and have Google Analytics set up for your website, it’s very likely that you know the bounce rate for your website. But, do you know anything about how it’s calculated, what your industry’s average bounce rate is or even what factors affect your bounce rate? Inspired by common questions, KissMetrics created this infographic to give you answers and some tips to help you improve your bounce rate.

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InspireUX
User Experience quotes and articles to inspire and connect the UX community.

178-useful in Time-Saving and Educational Resources for Web Designers

Quotes on Design
A growing collection of useful quotes by designers for designers and developers.

179-useful in Time-Saving and Educational Resources for Web Designers

IA TV
Information Architecture Television features a collection of videos from around the Web that all focus on information architecture. Hundreds of videos dating back to 2008 offer a great wealth of information on everything from design thinking to usability.

119-useful in Time-Saving and Educational Resources for Web Designers

The Bazaar
On this site you can create galleries, upload your artworks and specify your products which you would like to sell. Once the buyer has checked out and has made the payment, your artwork is printed, wrapped and delivered.

148-useful in Time-Saving and Educational Resources for Web Designers

A Collection of Materials Related to Interaction Design
This IxD library provides you with an ultimate collection of posts, articles, PDFs as well as videos related to interaction design for you to read and gain more knowledge and inspiration.

164-useful in Time-Saving and Educational Resources for Web Designers

Pinterest — Catalog the Things You Love
Pinterest is a social catalog service. Think of it as a virtual pinboard — a place where you can post collections of things you love, and “follow” collections created by people with great taste.

169-useful in Time-Saving and Educational Resources for Web Designers

WordPress Snippets
WP-Snippets can come in handy when you’re designing a WordPress theme. Rather than start from scratch when building some functionality or another, why not grab a snippet of code that has already been tested? The website includes many useful snippets, from highlighting author comments to listing random posts to filtering the loop. Make sure to read the comments for each snippet because they could contain helpful information on whether the code works in certain WordPress versions.

Wp-snippets in Time-Saving and Educational Resources for Web Designers

CSS Terms and Definitions
This article discusses the consistency in the use of terms with reagrds to CSS.

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CSS Vocabulary
“I realized quite late that to say something meaningful about CSS, I would have to know exactly what the terms used means. Often, I have asked for help in forums, and have got stuck wondering how exactly to describe my problem. So I thought it would be a good idea to describe all the common terms of CSS.” A nice overview of common CSS terms and definitions and a good addition to the article “CSS Terms and Definitions” described above..

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Bagcheck
BagCheck lets you share your personal collections and also lets you browse through other ‘bags’ to find out common hobbies or activities that helps you connect with people and their interests.

155-useful in Time-Saving and Educational Resources for Web Designers

ManyBooks: Repository of Free E-Books
This site offers a huge collection of public domain e-books, as well as other newer books that have been released in the public domain or under Creative Commons licenses, in a variety of formats. You can download classics such as Pride and Prejudice, as well as newer books such as The Gospel of the Knife, in formats such as ePub, Mobi, PDB and even PDF and plain text. Books are also browsable by genre, author and title. And of course, there is a search function.

Manybooks in Time-Saving and Educational Resources for Web Designers

Last Click

Should I Work for Free?
Who’s ready to stop working for free? Hopefully you are! If you have any doubts, consult this handy chart below. Start in the middle and work your way to your answer.

150-useful in Time-Saving and Educational Resources for Web Designers

Email Etiquette for the Super-Busy
In a recent blog post, venture capitalist Fred Wilson talked about his ongoing struggle with email management and the various solutions he’s tried, concluding: “Every time I make a productivity gain, the volume eventually overwhelms me.” It’s a familiar problem. We’re all extremely busy, and we all get too much email. So what to do?

123-useful in Time-Saving and Educational Resources for Web Designers

The Future of Advertising
An article on advertising; stating that advertising is on the cusp of its first creative revolution since the 1960s brings us to a new prespective. This involves the ad industry that just might get left behind. Click here to read and find out more. Very interesting read.

175-useful in Time-Saving and Educational Resources for Web Designers

Why Your Form Buttons Should Never Say ‘Submit’
When you see a ‘Submit’-button on a form, what comes to your mind? One could easily reason that clicking the button submits the user’s information into the system for processing. A ‘Submit’-button describes what the system does well, but it doesn’t describe what the user does at all. The article suggests to stop using the wording ‘Submit’ on buttons and provide more meaningful, task-specific names instead.

122-useful in Time-Saving and Educational Resources for Web Designers


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Productive Web Design With… Adobe Illustrator?

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Admittedly, Adobe Illustrator is often most certainly not the first choice that comes to mind when it comes to Web design. Fireworks and Photoshop are used much more often, and there are some good reasons for that. Still, although Illustrator has traditionally been used for drawing illustrations and logos, you can use it to design layouts and user interfaces, too.

In fact, in my opinion, you can utilize Illustrator to solve some regular design tasks better and more easily than you would do with other tools. With the techniques and tips I’d like to present in this article, I am certain that you will be able to build modular, flexible websites in less time and with less work.

Reasons To Use Illustrator For Web Design

Design Faster

Unlike the layers paradigm in Photoshop (i.e. first select the layer, and then work on it), Illustrator employs an “artboardâ€� paradigm: every object is selectable directly on the canvas. With just one click, you can manipulate any object on the artboard (by resizing, moving, rescaling, etc.) and make it pixel-precise with the Transform panel (available only in Illustrator CS5). It’s more intuitive and requires fewer mouse clicks, making your work more fluid.

You will also save time with two helpful functions that are unique in Illustrator:

  • Create modular Web designs with the Symbols panel and
  • Quickly format text with the Paragraph and Text Style panels.

1-edition-illustrator in Productive Web Design With... Adobe Illustrator?

Think Modular

Using the Symbols panel, you can create reusable components that will save you time when updating your designs or starting from scratch. This technique is especially useful for recurring elements, such as buttons, navigation bars, pagination elements, footers, etc.

How to create reusable components?:

  1. Create a master component (a button, navigation bar, etc), and save it as a ‘Symbol’ in the Symbols panel.
  2. Drag your newly created component from the Symbols panel and drop it into your design.
  3. Now, when you modify your master button in the Symbols library, every linked occurrence of the symbol will update as well.

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Quick Tool for Creating Wireframes

Illustrator is useful for wireframing, enabling you to quickly show the basic layout and navigation to clients. I usually begin by drawing a mock-up in black and white, using simple boxes, lines and typography. After I presented the wireframe to the client for approval, I create a more sophisticated design, with colors and effects based on the wireframe (we will cover this part in more detail later in the article).

Here are the advantages of preparing the wireframe in Illustrator:

  • Illustrator is fast for drawing wireframes because of its vector nature. You can create boxes, lines and text quickly and easily.
  • You can use libraries of commons elements, such as buttons and icons, and drop them easily into the wireframe.
  • Once the basic wireframe has been approved, you will save time creating the final design because the layout and content are already in place. Sometimes getting the final design is as easy as formatting text with style sheets and applying some graphic styles.

4-wireframes in Productive Web Design With... Adobe Illustrator?

Format Text Quickly and Easily

If you use CSS or InDesign, then you will already be familiar with “Characterâ€� and “Paragraphâ€� styles and how powerful they are for quickly modifying and controlling the layout of text. You can do the same with Illustrator. The good thing is that Illustrator shares a lot of InDesign’s advanced typographic functionality.

For example, use a paragraph style for all of the body text on your website that you wish to style. Then, when you make a modification (say, change the font from Arial to Verdana), the body text on every page of your design will adjust right away.

In addition to Paragraph styles, you can use the Eyedropper tool to quickly apply text styles to various bits of text:

  1. Select the text whose style you want to replicate and
  2. Click on the text you want to style, and …Voila! The style is instantly applied.

5-stylesheets-illustrator in Productive Web Design With... Adobe Illustrator?

Become an Agile Designer

Being able to quickly change your layout without a lot of effort is the key to designing in today’s rapidly evolving profession. After years of using Adobe’s Photoshop for Web design, I began to feel like a “pixel tailor,” using dull scissors and chalk.

I feel that the bitmap nature of the application is not optimized for performing basic Web design processes. For example, suppose I want to round a shape. I would need to follow these steps: select the area, use the “Round the selection� function, invert the selection and then cut the selected area so that the preserved area will appear rounded.

With Illustrator, I just apply a rounded effect to my selection. Additionally, I can save this graphic style and apply it to other elements. In this way Illustrator helps you respond quickly to your customer’s needs.

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Focus on Simple, Clean Design

Illustrator offers simpler graphic options than Photoshop, which can help you to focus on sound design principles and stop wasting time on unnecessary effects and filters. Photoshop remains indisputably the best option if you want complex interfaces with a lot of graphic effects, such as textured backgrounds and complex lighting effects. But if your designs are simple and clean, then I am confident that you would complete your work faster and more efficiently with Illustrator. And if you really do need complex and texturized graphics, you can accomplish this with Illustrator, too, but it takes some know-how. Later on, we will discuss how to improve your designs by avoiding the overly clean “vector� look, as seen in the textured buttons below.

7-illustrator-texture-illustrator in Productive Web Design With... Adobe Illustrator?

Work Lighter and Faster

Vector images are smaller than rasterized images. Thus, Illustrator will help you create designs that are lighter and less CPU-intensive than those made with Photoshop. This enables you to group a lot of interface screens into the same Illustrator file, avoiding the inconvenience of having to open multiple files when designing.

Over my career, I have designed up to 30 screens all within the same Illustrator file while keeping the size under 5 MB (excluding bitmap images). Because Illustrator is not as demanding on your CPU and requires less memory, you can keep several applications open at the same time without slowing down your computer. You also don’t need the most powerful (and thus more expensive) machine to create, adjust and export your designs.

How To Create Modular Designs

To make the discussion more interesting in terms of how exactly one can use Illustrator for regular design tasks, let’s look at the ultimate Illustrator technique for Web designers: creating a modular design with vector symbols.

Save Time With Symbols Libraries

The Symbols library enables you to reuse and modify elements across an entire website. Not only does it save you time, but it helps you build a library of items that can be used over and over again.

Illustrator previews all of your symbols in the Symbols panel, and you can create as many panels as you need. You can organize your work by creating panels specific to each kind of common GUI element: arrows, icons, buttons, etc. In this way, you simply browse through your symbols, select the one you want, and drop it into the design on your artboard.

9-symbols-library in Productive Web Design With... Adobe Illustrator?

Keep Your Design Consistent

Symbol components help you maintain the look of a design throughout the entire website. By centralizing component design with master symbols, you are able to view all of your elements at once and make sure that the style you are working towards is consistent. No more will you need to check every screen to see whether you have forgotten to update one element.

8-master-elements-illustrator in Productive Web Design With... Adobe Illustrator?

Build Up a Components Library for Future Projects

Because the components reside in the Symbols panel, they are separate from the design layout. By continually adding components to your library, you will build up a collection of items that can be reused or modified in other projects. The increase in efficiency quickly becomes exponential. This is the first step to building your own interface framework.

My humble advice to help you organize your work is to also use different panels for each group of GUI elements. Over the years, I found out that it’s better to have one panel for arrows, one for icons and one for basic GUI elements (buttons, forms elements, etc.). You can see an example of a GUI components library by downloading my free GUI design framework.

To create your own Symbols panel, first, add a vector shape to the Symbol panel by dropping it inside. Next, save this symbol library as an AI file by selecting “Save symbol library� in the Symbol panel options:

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You can add as many Symbol panels to the artboard as you want by going to Window → Symbols Libraries.

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Modular Design Limitations With Photoshop

Photoshop has the option “Customs shapes,� which are similar to the “Symbols� in Illustrator but has three major limitations:

  1. You can’t define a precise size for the elements you create. Let’s say you draw an area for a custom shape without knowing the exact size you want. There is no editable field that allows you to adjust the dimensions to the exact size you require.
  2. You cannot change the dimensions of the “custom shape� once it’s been created. This makes your designs inflexible and labor-intensive. These custom shapes behave more like a vector brush than reusable components for Web design.
  3. There isn’t a specific panel to manage your custom shapes. Adding a custom shape to the repository requires many clicks every single time: click the custom shape icon, activate the drop-down panel to see the customs shapes, click to select the shape. Then finally, click on the layout and define the size of the shape by dragging it to the desired dimensions. That’s a tedious process. Illustrator’s definable Symbols panels is far easier to use and is the main reason why I sincerely believe Illustrator is the superior Web design tool.

Create Professional Designs

You can design professional, sophisticated interfaces with Illustrator. Look at the buttons below. Notice that they have a textured appearance and various visual effects (drop-shadow, inner glow, etc). With a little practice and a good eye, you can achieve the same graphic designs that you would with Photoshop. The clear advantage, however, is that these elements will be completely editable, resizable and reusable.

Add Visual Effects

Although it has fewer built-in graphic effects filters than Photoshop, Illustrator includes the most useful ones: drop-shadow, textures, noise, rounded corners, and inner and outer glow. By focusing your creativity on fewer effects, you will work more efficiently and spend less time playing around with effects.

All the filter settings are located in the Appearance panel and you can save every combination of effects as a graphic style, making it easy to reuse or to modify your designs. Remember, with Illustrator you have the power of modular design: when you update a graphic style, every occurrence of the element using that style gets updated as well.

Another powerful feature of Illustrator is the infinite number of outlines that can be placed around vector elements and the unlimited number of background fills that can be added to any object. Experiment with these, and you can create some complex layered styles.

15-appearance in Productive Web Design With... Adobe Illustrator?

Texturize Your Design

It’s usually better to avoid the sterile “vectorâ€� look in your designs by adding some texture to the elements in the layout.

Here are three main methods of texturizing in Illustrator:

  • Use seamless and repetitive bitmaps. For large backgrounds, import a texture by selecting File → Place, and then add it as a swatch in the Swatch panel. Then, you can use it to fill any shape.
  • Use the Stylize filters (Effects → Stylize) to add some noise or texture to a background.
  • Use the texture swatches included with Illustrator, and put them on top of a background fill. Change the texture fill to an Opacity mode such as Multiply, and adjust the opacity to somewhere between 15 and 20% to give it a subtle fused affect.

Again, you can save all of these texturing and noise effects as a graphic style and reuse or modify them later.

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16-swatch-texture in Productive Web Design With... Adobe Illustrator?

Create Perfect Gradients

The latest version of Illustrator (CS5) is packed with some sophisticated gradients, including opacity settings for each color point and elliptical gradients. You can click directly on a object to customize the filling gradient with different preferences: angle, location, colors sliders, focal point, origin, etc. The process is very efficient and is a bit superior to that of Photoshop, in which the workflow is hindered by an intermediate gradient editing window.

Currently, Illustrator still lacks some gradient dithering options (found in other applications such as Fireworks), which can sometimes lead to the “band effect.� An effective workaround is to add some texture and/or noise to your gradients, as explained in the previous section.

Notice that Fireworks offers more type of gradients. All versions (including CS3, CS4, CS5) have Linear, Radial, Rectangle, Cone, Contour, Ellipse, Bars, Ripples and some more gradient types. Fireworks has many more types of gradients, and those gradients are also “live editable� on the canvas, just like in the latest version of Illustrator.

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Rounding Effects

Adding rounded corners to any shape, including typography, is very simple in Illustrator. Simply click any object on the artboard to select it. Then, choose Effect → Stylize → Rounded Corners from the main menu, and define the radius for the curve. Later on, you can modify the radius using the Appearance panel. Photoshop, on the other hand, allows you to add only rounded corners to rectangles, and once the radius is set, it cannot be altered.

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Smart Resizing With “9 Slices� Scaling Tools

With Illustrator CS5, you can resize an object without distorting it. You define some zones to extend and some zones to preserve (rounded corners, for example). Save this object as a symbol, and you now have a reusable GUI component.

The 9-slice scaling feature is not new to the Adobe line of products. It first appeared in Adobe Fireworks CS3 (it applied to Symbols only in version CS3). In Fireworks CS4, the feature became a new “9-slice Scaling� tool, and now it can be used on any object on the canvas. Photoshop does not have this option at all.

19-scales-illustrator in Productive Web Design With... Adobe Illustrator?

Advanced Options for Text

In Illustrator, you can wrap text around images — the text will automatically adjust to changes in image size — and define outside margins, just as you would in full-strength text-layout programs such as InDesign and QuarkXPress.

20-text-wrapping in Productive Web Design With... Adobe Illustrator?

Inserting Bitmap Pictures

Using photos in your layout, such as photos of products, illustrations or artwork, is as easy as dragging and dropping the image files onto the canvas. This works with PNG, GIF and JPG files. You can also paste directly from the clipboard.

If you need images that are transparent, use the “Place imageâ€� function to insert the image and then link to the source file (File → Place). As an bonus, every time you update the original file in another image editing program, the image in Illustrator will reflect these changes. This will increase your efficiency and save you the headache of having to re-import images.

You can also use a clipping mask with gradients for fading opacity, although Photoshop might win out on this one for ease of use. You can learn all these techniques with this useful tutorial by VectorTuts.

22-image-illustrator in Productive Web Design With... Adobe Illustrator?

Gradients for Typography and Stroke

You can use gradients on editable text and strokes of all elements. You might want to check this tutorial for these gradients strokes to learn more about it. With a little practice, you will master this technique and be able to combine textures and effects.

What’s more, no matter how complex the typography and text in your designs become, they will always be editable in Illustrator. One thing to keep in mind, though, is that this method can be processor-intensive and should be reserved for titles and important elements.

14-gradients-stroke-illustrator in Productive Web Design With... Adobe Illustrator?

Creating a Grid in Illustrator

In my opinion, it’s always a good idea to start your project by designing the grid and defining foundational design settings first. This will save time later and help you create a structured and consistent design.

How to create a grid in Illustrator?

  1. Create an artboard that is either 950 or 960 pixels wide. These are the common grid sizes I use for building websites that fit the 1024-pixel–wide displays. Note: the artboard area is used for the layout of content. Feel free to design larger backgrounds if necessary.
  2. Set the grid based on your artboard size. For example, with a 950-pixel artboard, you will have 19 blocks of 50 pixels each. Each of these blocks can be further sub-divided into 5 blocks, resulting in blocks that are 10 × 10 pixels in size. Or you could use the de facto standard 960 Grid System. Choose the grid size that you are most comfortable or familiar with.
  3. From the main menu, select View → Snap to Grid. This makes the grid act like a magnet, forcing each element to lock precisely to one of the grid lines.
  4. From the main menu, select Units → Preferences, and set the units to “Pixelsâ€� and the keyboard increment to 0.5 pixels (yes, 0.5 pixels, that’s a pixel-precise tip — please read the details below).

10-start-settings-illustrator in Productive Web Design With... Adobe Illustrator?

Adjust Illustrator to Fit Your Needs

Since you are using Illustrator for Web design, a few adjustments are required to keep your designs optimized for your workflow. You can change the default font setting from Myriad to the font used in your current project. Learn how to do it with this complete tutorial on changing the default font settings in Illustrator.

You can also define a few other preferences, such as text style sheets, default artboard size (950 pixels), graphic styles, and symbols to optimize your Illustrator environment for Web design.

12-default-settings in Productive Web Design With... Adobe Illustrator?

Don’t Start From Scratch: Customize Your Templates

You don’t have to redo this process every time you start a new design. By creating and re-using templates you can increase your efficiency without much effort. You can create your own template by going to File → Save as Template. Set it up with a standard 950-pixel artboard width, your grid settings, customized preferences and your favorite symbols and graphic styles.

Create a Pixel-Precise Web Design

One of my pet peeves with previous versions of Illustrator was the “blurry effect� present in some line strokes or texts, as well as the absence of pixel-precise tools. You can avoid these problems with some of the new tools introduced in Illustrator CS5.

Property Inspector

Use the “Property Inspector� to quickly check and edit the exact position and dimension of objects right down to the pixel. This will help you reduce the time you spend positioning elements. In addition, by giving precise values to pixel dimensions, you avoid the blurry effect because the strokes will be aligned to the pixel grid.

Other useful tools in Illustrator CS5 are “Align to Pixel Gridâ€� and “Pixel Preview” (View → Pixel Preview), which helps to avoid the blurry effect.

There are two options to align to the pixel grid (only in Illustrator CS5):

  • When you create a new document, check the “Align to Pixel Gridâ€� option at the bottom of the window.
  • In the Transform panel, check “Align to the Pixel Gridâ€� at the bottom of the panel.

24-property in Productive Web Design With... Adobe Illustrator?

Clean Outlines

The article Illustrator Trick: How to avoid blurred Pixel Fonts & Shapes shows you how to eliminate the blurry effect for outlines. I suggest that you read it carefully, but for those who want to jump right in, here is a quick summary:

  1. Use the Outline and Inside stroke default option, instead of the Center stroke.
  2. Position elements with whole values, and give them whole dimensions. Avoid fractions (2 instead of 1.9, for example).
  3. Move lines and strokes in 0.5-pixel increments when they are blurry.

Also turn on the “Snap to gridâ€� or “Snap to pixel“ option under the View menu, because it keeps the strokes locked to the nearest pixel and avoids the blurry anti-aliasing. The “Snap to pixelâ€� option appears only if you are in the Pixel Preview mode: View → Pixel Preview.

23-outlines-illustrator in Productive Web Design With... Adobe Illustrator?

Two last tips:

  • To quickly position lines, set a 0.5-pixel keyboard increment in the Preferences (Preferences → General). This way, when lines are blurry, you can simply use the keyboard arrow keys to move them by 0.5-pixel increments until the blur disappears.
  • If you have tried everything and the element is still blurry, use a 0.999-pixel size for the stroke (hack courtesy of Benjamin McDonnell).

Why Not Fireworks?

Fireworks is supposed to be the Adobe CS suite’s dedicated application for Web design. It offers some powerful functions: Symbols library, Pages panel (I would love to have this in Illustrator), pixel-precise rendering, vector and bitmap editing, gradient dithering, etc. All the tools that any Web designer would want in a single package.

So, why don’t I use it? Well, I have tried Fireworks every time a new version is released. I still prefer Illustrator, and here are some reasons why:

  • First and foremost, it’s a question of taste. I find the Fireworks interface not as easy to use as Illustrator’s. Fireworks was originally developed by Macromedia (the same folks who brought Flash to the Web world), and its look and feel retain some of those roots.
  • Secondly, the modular design is not as well developed in Fireworks as it is in Illustrator. For example, the Fireworks’s Symbols panel allows you to preview only one item, making it difficult and time-consuming to find the symbol you want and to browse the symbols in your library.
  • In CS3 and earlier versions, I experienced a lot of bugs and crashes. CS4 was much improved but is still prone to some bugs. Admittedly, now these problems seem to be addressed: CS5 is one of the most stable versions of Fireworks to date, as Michel Bozgounov explains in “Adobe Fireworks: Is It Worth Switching to CS5?.â€� But if you are using an older version, you may still experience some crash problems.
  • Fireworks does not provide a way to format text by applying styles to paragraphs, which is a serious deficiency because Web design is to a large extent about typography.

Conclusion

The perfect tool for Web design does not yet exist. In my opinion, little has been done over the past few years to really meet the needs of Web designers. Still, I have developed a good working relationship with Illustrator. Over the years I have had developed some effective methods and tricks to optimize Illustrator for Web design. It’s the application that I find myself often recommending for modular design. I have developed my own User Interface Design Framework for Illustrator, resulting in improved productivity and consistency (via the Symbols libraries and vector GUI elements).

After more than 10 years of working as a Web designer, I’m no longer interested in producing the fanciest design. Experience has taught me to focus on productivity and flexibility. Work faster, and deliver the work on time: that is my priority. And Illustrator is a solid option for that. The next generation of Fireworks may wind up being closer to what I’m looking for in a Web design suite. Until then, I’m sticking with Illustrator.

Further Reading

Resources for Web design and wireframing in Illustrator:

  • User Interface Design framework
    My free Illustrator GUI framework, loaded with a ton of GUI elements (buttons, tabs, navigation elements, etc.), vector icons, graphic styles and swatches for Web designers.
  • Free Sketching and Wireframing Kit, by Janko
    A free set of elements for sketching and wireframing with form elements, icons, indicators, feedback messages, tooltips, navigation elements and more.
  • Sketchy Illustrator Wireframes, by Matthew Rea
    “In the past, I’ve dabbled with various tools to create screen mockups and designs; however, I keep coming back to Illustrator; partly because it’s what I’m most comfortable with, but it also fits well into my workflow.â€�
  • iPhone Sketch Elements AI, by Teehan + Lax
    A collection of common iPhone elements in a sketch–like style, allowing you to easily and quickly mock up custom wireframe screen flows. For their wireframing needs, they switched from Photoshop to Illustrator: the PSD version “proved a little too high-fidelity. For rapid prototyping we found we needed a more malleable approach. This is when we turned to the iPhone Sketch Elements AI.�
  • iPhone UI Vector Elements, by Rusty Mitchell
    A complete and well-crafted library of iPhone GUI elements.
  • iPad Vector GUI Elements, by Iconshock
    This set contains almost all of the iPad’s UI elements, including buttons, tabs, menus, keyboard and more.

Recommended websites for Illustrator tips and tutorials:

  • Vectips
    I learned a lot from the insights of Ryan Putnam.
  • Vector Tuts +
    Fresh tutorials and tips to improve your Illustrator skills.
  • BitBox
    Some interesting tutorials… unfortunately, just four new articles in 2010.

Why you might also use Fireworks instead of Photoshop for Web design:

What applications do you use primarily for Web design (for the visual part)?


(al) (ik) (vf)


© Vincent Le Moign for Smashing Magazine, 2011. | Permalink | Post a comment | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Responsive Web Design: What It Is and How To Use It

Advertisement in Responsive Web Design: What It Is and How To Use It
 in Responsive Web Design: What It Is and How To Use It  in Responsive Web Design: What It Is and How To Use It  in Responsive Web Design: What It Is and How To Use It

Almost every new client these days wants a mobile version of their website. It’s practically essential after all: one design for the BlackBerry, another for the iPhone, the iPad, netbook, Kindle — and all screen resolutions must be compatible, too. In the next five years, we’ll likely need to design for a number of additional inventions. When will the madness stop? It won’t, of course.

In the field of Web design and development, we’re quickly getting to the point of being unable to keep up with the endless new resolutions and devices. For many websites, creating a website version for each resolution and new device would be impossible, or at least impractical. Should we just suffer the consequences of losing visitors from one device, for the benefit of gaining visitors from another? Or is there another option?

Responsive Web design is the approach that suggests that design and development should respond to the user’s behavior and environment based on screen size, platform and orientation. The practice consists of a mix of flexible grids and layouts, images and an intelligent use of CSS media queries. As the user switches from their laptop to iPad, the website should automatically switch to accommodate for resolution, image size and scripting abilities. In other words, the website should have the technology to automatically respond to the user’s preferences. This would eliminate the need for a different design and development phase for each new gadget on the market.

The Concept Of Responsive Web Design

Ethan Marcotte wrote an introductory article about the approach, “Responsive Web Design,� for A List Apart. It stems from the notion of responsive architectural design, whereby a room or space automatically adjusts to the number and flow of people within it:

“Recently, an emergent discipline called “responsive architectureâ€� has begun asking how physical spaces can respond to the presence of people passing through them. Through a combination of embedded robotics and tensile materials, architects are experimenting with art installations and wall structures that bend, flex, and expand as crowds approach them. Motion sensors can be paired with climate control systems to adjust a room’s temperature and ambient lighting as it fills with people. Companies have already produced “smart glass technologyâ€� that can automatically become opaque when a room’s occupants reach a certain density threshold, giving them an additional layer of privacy.”

Transplant this discipline onto Web design, and we have a similar yet whole new idea. Why should we create a custom Web design for each group of users; after all, architects don’t design a building for each group size and type that passes through it? Like responsive architecture, Web design should automatically adjust. It shouldn’t require countless custom-made solutions for each new category of users.

Obviously, we can’t use motion sensors and robotics to accomplish this the way a building would. Responsive Web design requires a more abstract way of thinking. However, some ideas are already being practiced: fluid layouts, media queries and scripts that can reformat Web pages and mark-up effortlessly (or automatically).

But responsive Web design is not only about adjustable screen resolutions and automatically resizable images, but rather about a whole new way of thinking about design. Let’s talk about all of these features, plus additional ideas in the making.

Adjusting Screen Resolution

With more devices come varying screen resolutions, definitions and orientations. New devices with new screen sizes are being developed every day, and each of these devices may be able to handle variations in size, functionality and even color. Some are in landscape, others in portrait, still others even completely square. As we know from the rising popularity of the iPhone, iPad and advanced smartphones, many new devices are able to switch from portrait to landscape at the user’s whim. How is one to design for these situations?

Portrait-landscape in Responsive Web Design: What It Is and How To Use It

In addition to designing for both landscape and portrait (and enabling those orientations to possibly switch in an instant upon page load), we must consider the hundreds of different screen sizes. Yes, it is possible to group them into major categories, design for each of them, and make each design as flexible as necessary. But that can be overwhelming, and who knows what the usage figures will be in five years? Besides, many users do not maximize their browsers, which itself leaves far too much room for variety among screen sizes.

Morten Hjerde and a few of his colleagues identified statistics on about 400 devices sold between 2005 and 2008. Below are some of the most common:

Sizes in Responsive Web Design: What It Is and How To Use It

Since then even more devices have come out. It’s obvious that we can’t keep creating custom solutions for each one. So, how do we deal with the situation?

Part of the Solution: Flexible Everything

A few years ago, when flexible layouts were almost a “luxury� for websites, the only things that were flexible in a design were the layout columns (structural elements) and the text. Images could easily break layouts, and even flexible structural elements broke a layout’s form when pushed enough. Flexible designs weren’t really that flexible; they could give or take a few hundred pixels, but they often couldn’t adjust from a large computer screen to a netbook.

Now we can make things more flexible. Images can be automatically adjusted, and we have workarounds so that layouts never break (although they may become squished and illegible in the process). While it’s not a complete fix, the solution gives us far more options. It’s perfect for devices that switch from portrait orientation to landscape in an instant or for when users switch from a large computer screen to an iPad.

In Ethan Marcotte’s article, he created a sample Web design that features this better flexible layout:

Moreflexible in Responsive Web Design: What It Is and How To Use It

The entire design is a lovely mix of fluid grids, fluid images and smart mark-up where needed. Creating fluid grids is fairly common practice, and there are a number of techniques for creating fluid images:

For more information on creating fluid websites, be sure to look at the book “Flexible Web Design: Creating Liquid and Elastic Layouts with CSS” by Zoe Mickley Gillenwater, and download the sample chapter “Creating Flexible Images.â€� In addition, Zoe provides the following extensive list of tutorials, resources, inspiration and best practices on creating flexible grids and layouts: “Essential Resources for Creating Liquid and Elastic Layouts.â€�

While from a technical perspective this is all easily possible, it’s not just about plugging these features in and being done. Look at the logo in this design, for example:

Croppinglogo in Responsive Web Design: What It Is and How To Use It

If resized too small, the image would appear to be of low quality, but keeping the name of the website visible and not cropping it off was important. So, the image is divided into two: one (of the illustration) set as a background, to be cropped and to maintain its size, and the other (of the name) resized proportionally.

<h1 id="logo"><a href="#"><img src="site/logo.png" alt="The Baker Street Inquirer" /></a></h1>

Above, the h1 element holds the illustration as a background, and the image is aligned according to the container’s background (the heading).

This is just one example of the kind of thinking that makes responsive Web design truly effective. But even with smart fixes like this, a layout can become too narrow or short to look right. In the logo example above (although it works), the ideal situation would be to not crop half of the illustration or to keep the logo from being so small that it becomes illegible and “floats� up.

Flexible Images

One major problem that needs to be solved with responsive Web design is working with images. There are a number of techniques to resize images proportionately, and many are easily done. The most popular option, noted in Ethan Marcotte’s article on fluid images but first experimented with by Richard Rutter, is to use CSS’s max-width for an easy fix.

img { max-width: 100%; }

As long as no other width-based image styles override this rule, every image will load in its original size, unless the viewing area becomes narrower than the image’s original width. The maximum width of the image is set to 100% of the screen or browser width, so when that 100% becomes narrower, so does the image. Essentially, as Jason Grigsby noted, “The idea behind fluid images is that you deliver images at the maximum size they will be used at. You don’t declare the height and width in your code, but instead let the browser resize the images as needed while using CSS to guide their relative size”. It’s a great and simple technique to resize images beautifully.

Note that max-width is not supported in IE, but a good use of width: 100% would solve the problem neatly in an IE-specific style sheet. One more issue is that when an image is resized too small in some older browsers in Windows, the rendering isn’t as clear as it ought to be. There is a JavaScript to fix this issue, though, found in Ethan Marcotte’s article.

While the above is a great quick fix and good start to responsive images, image resolution and download times should be the primary considerations. While resizing an image for mobile devices can be very simple, if the original image size is meant for large devices, it could significantly slow download times and take up space unnecessarily.

Filament Group’s Responsive Images

This technique, presented by the Filament Group, takes this issue into consideration and not only resizes images proportionately, but shrinks image resolution on smaller devices, so very large images don’t waste space unnecessarily on small screens. Check out the demo page here.

Filamentgroup in Responsive Web Design: What It Is and How To Use It

This technique requires a few files, all of which are available on Github. First, a JavaScript file (rwd-images.js), the .htaccess file and an image file (rwd.gif). Then, we can use just a bit of HTML to reference both the larger and smaller resolution images: first, the small image, with an .r prefix to clarify that it should be responsive, and then a reference to the bigger image using data-fullsrc.

<img src="smallRes.jpg" data-fullsrc="largeRes.jpg">

The data-fullsrc is a custom HTML5 attribute, defined in the files linked to above. For any screen that is wider than 480 pixels, the larger-resolution image (largeRes.jpg) will load; smaller screens wouldn’t need to load the bigger image, and so the smaller image (smallRes.jpg) will load.

The JavaScript file inserts a base element that allows the page to separate responsive images from others and redirects them as necessary. When the page loads, all files are rewritten to their original forms, and only the large or small images are loaded as necessary. With other techniques, all higher-resolution images would have had to be downloaded, even if the larger versions would never be used. Particularly for websites with a lot of images, this technique can be a great saver of bandwidth and loading time.

This technique is fully supported in modern browsers, such as IE8+, Safari, Chrome and Opera, as well as mobile devices that use these same browsers (iPad, iPhone, etc.). Older browsers and Firefox degrade nicely and still resize as one would expect of a responsive image, except that both resolutions are downloaded together, so the end benefit of saving space with this technique is void.

Stop iPhone Simulator Image Resizing

One nice thing about the iPhone and iPod Touch is that Web designs automatically rescale to fit the tiny screen. A full-sized design, unless specified otherwise, would just shrink proportionally for the tiny browser, with no need for scrolling or a mobile version. Then, the user could easily zoom in and out as necessary.

There was, however, one issue this simulator created. When responsive Web design took off, many noticed that images were still changing proportionally with the page even if they were specifically made for (or could otherwise fit) the tiny screen. This in turn scaled down text and other elements.

Iphonescale in Responsive Web Design: What It Is and How To Use It
(Image: Think Vitamin | Website referenced: 8 Faces)

Because this works only with Apple’s simulator, we can use an Apple-specific meta tag to fix the problem, placing it below the website’s <head> section. Thanks to Think Vitamin’s article on image resizing, we have the meta tag below:

<meta name="viewport" content="width=device-width; initial-scale=1.0">

Setting the initial-scale to 1 overrides the default to resize images proportionally, while leaving them as is if their width is the same as the device’s width (in either portrait or lanscape mode). Apple’s documentation has a lot more information on the viewport meta tag.

Custom Layout Structure

For extreme size changes, we may want to change the layout altogether, either through a separate style sheet or, more efficiently, through a CSS media query. This does not have to be troublesome; most of the styles can remain the same, while specific style sheets can inherit these styles and move elements around with floats, widths, heights and so on.

For example, we could have one main style sheet (which would also be the default) that would define all of the main structural elements, such as #wrapper, #content, #sidebar, #nav, along with colors, backgrounds and typography. Default flexible widths and floats could also be defined.

If a style sheet made the layout too narrow, short, wide or tall, we could then detect that and switch to a new style sheet. This new child style sheet would adopt everything from the default style sheet and then just redefine the layout’s structure.

Here is the style.css (default) content:

/* Default styles that will carry to the child style sheet */

html,body{
   background...
   font...
   color...
}

h1,h2,h3{}
p, blockquote, pre, code, ol, ul{}

/* Structural elements */
#wrapper{
	width: 80%;
	margin: 0 auto;

	background: #fff;
	padding: 20px;
}

#content{
	width: 54%;
	float: left;
	margin-right: 3%;
}

#sidebar-left{
	width: 20%;
	float: left;
	margin-right: 3%;
}

#sidebar-right{
	width: 20%;
	float: left;
}

Here is the mobile.css (child) content:

#wrapper{
	width: 90%;
}

#content{
	width: 100%;
}

#sidebar-left{
	width: 100%;
	clear: both;

	/* Additional styling for our new layout */
	border-top: 1px solid #ccc;
	margin-top: 20px;
}

#sidebar-right{
	width: 100%;
	clear: both;

	/* Additional styling for our new layout */
	border-top: 1px solid #ccc;
	margin-top: 20px;
}

Movingcontent in Responsive Web Design: What It Is and How To Use It

Media Queries

CSS3 supports all of the same media types as CSS 2.1, such as screen, print and handheld, but has added dozens of new media features, including max-width, device-width, orientation and color. New devices made after the release of CSS3 (such as the iPad and Android devices) will definitely support media features. So, calling a media query using CSS3 features to target these devices would work just fine, and it will be ignored if accessed by an older computer browser that does not support CSS3.

In Ethan Marcotte’s article, we see an example of a media query in action:

<link rel="stylesheet" type="text/css"
	media="screen and (max-device-width: 480px)"
	href="shetland.css" />

This media query is fairly self-explanatory: if the browser displays this page on a screen (rather than print, etc.), and if the width of the screen (not necessarily the viewport) is 480 pixels or less, then load shetland.css.

New CSS3 features also include orientation (portrait vs. landscape), device-width, min-device-width and more. Look at “The Orientation Media Query� for more information on setting and restricting widths based on these media query features.

One can create multiple style sheets, as well as basic layout alterations defined to fit ranges of widths — even for landscape vs. portrait orientations. Be sure to look at the section of Ethan Marcotte’s article entitled “Meet the media queryâ€� for more examples and a more thorough explanation.

Multiple media queries can also be dropped right into a single style sheet, which is the most efficient option when used:

/* Smartphones (portrait and landscape) ----------- */
@media only screen
and (min-device-width : 320px)
and (max-device-width : 480px) {
/* Styles */
}

/* Smartphones (landscape) ----------- */
@media only screen
and (min-width : 321px) {
/* Styles */
}

/* Smartphones (portrait) ----------- */
@media only screen
and (max-width : 320px) {
/* Styles */
}

The code above is from a free template for multiple media queries between popular devices by Andy Clark. See the differences between this approach and including different style sheet files in the mark-up as shown in the post “Hardboiled CSS3 Media Queries.�

CSS3 Media Queries

Above are a few examples of how media queries, both from CSS 2.1 and CSS3 could work. Let’s now look at some specific how-to’s for using CSS3 media queries to create responsive Web designs. Many of these uses are relevant today, and all will definitely be usable in the near future.

The min-width and max-width properties do exactly what they suggest. The min-width property sets a minimum browser or screen width that a certain set of styles (or separate style sheet) would apply to. If anything is below this limit, the style sheet link or styles will be ignored. The max-width property does just the opposite. Anything above the maximum browser or screen width specified would not apply to the respective media query.

Note in the examples below that we’re using the syntax for media queries that could be used all in one style sheet. As mentioned above, the most efficient way to use media queries is to place them all in one CSS style sheet, with the rest of the styles for the website. This way, multiple requests don’t have to be made for multiple style sheets.

@media screen and (min-width: 600px) {
     .hereIsMyClass {
          width: 30%;
          float: right;
     }
}

The class specified in the media query above (hereIsMyClass) will work only if the browser or screen width is above 600 pixels. In other words, this media query will run only if the minimum width is 600 pixels (therefore, 600 pixels or wider).

@media screen and (max-width: 600px) {
     .aClassforSmallScreens {
          clear: both;
		  font-size: 1.3em;
     }
}

Now, with the use of max-width, this media query will apply only to browser or screen widths with a maximum width of 600 pixels or narrower.

While the above min-width and max-width can apply to either screen size or browser width, sometimes we’d like a media query that is relevant to device width specifically. This means that even if a browser or other viewing area is minimized to something smaller, the media query would still apply to the size of the actual device. The min-device-width and max-device-width media query properties are great for targeting certain devices with set dimensions, without applying the same styles to other screen sizes in a browser that mimics the device’s size.

@media screen and (max-device-width: 480px) {
     .classForiPhoneDisplay {
          font-size: 1.2em;
     }
}
@media screen and (min-device-width: 768px) {
     .minimumiPadWidth {
          clear: both;
		  margin-bottom: 2px solid #ccc;
     }
}

There are also other tricks with media queries to target specific devices. Thomas Maier has written two short snippets and explanations for targeting the iPhone and iPad only:

For the iPad specifically, there is also a media query property called orientation. The value can be either landscape (horizontal orientation) or portrait (vertical orientation).

@media screen and (orientation: landscape) {
     .iPadLandscape {
          width: 30%;
		  float: right;
     }
}
@media screen and (orientation: portrait) {
     .iPadPortrait {
          clear: both;
     }
}

Unfortunately, this property works only on the iPad. When determining the orientation for the iPhone and other devices, the use of max-device-width and min-device-width should do the trick.

There are also many media queries that make sense when combined. For example, the min-width and max-width media queries are combined all the time to set a style specific to a certain range.

@media screen and (min-width: 800px) and (max-width: 1200px) {
     .classForaMediumScreen {
          background: #cc0000;
          width: 30%;
          float: right;
     }
}

The above code in this media query applies only to screen and browser widths between 800 and 1200 pixels. A good use of this technique is to show certain content or entire sidebars in a layout depending on how much horizontal space is available.

Some designers would also prefer to link to a separate style sheet for certain media queries, which is perfectly fine if the organizational benefits outweigh the efficiency lost. For devices that do not switch orientation or for screens whose browser width cannot be changed manually, using a separate style sheet should be fine.

You might want, for example, to place media queries all in one style sheet (as above) for devices like the iPad. Because such a device can switch from portrait to landscape in an instant, if these two media queries were placed in separate style sheets, the website would have to call each style sheet file every time the user switched orientations. Placing a media query for both the horizontal and vertical orientations of the iPad in the same style sheet file would be far more efficient.

Another example is a flexible design meant for a standard computer screen with a resizable browser. If the browser can be manually resized, placing all variable media queries in one style sheet would be best.

Nevertheless, organization can be key, and a designer may wish to define media queries in a standard HTML link tag:

<link rel="stylesheet" media="screen and (max-width: 600px)" href="small.css" />
<link rel="stylesheet" media="screen and (min-width: 600px)" href="large.css" />
<link rel="stylesheet" media="print" href="print.css" />

JavaScript

Another method that can be used is JavaScript, especially as a back-up to devices that don’t support all of the CSS3 media query options. Fortunately, there is already a pre-made JavaScript library that makes older browsers (IE 5+, Firefox 1+, Safari 2) support CSS3 media queries. If you’re already using these queries, just grab a copy of the library, and include it in the mark-up: css3-mediaqueries.js.

In addition, below is a sample jQuery snippet that detects browser width and changes the style sheet accordingly — if one prefers a more hands-on approach:

<script type="text/javascript" src="http://ajax.googleapis.com/ajax/libs/jquery/1.4.4/jquery.min.js"></script>

<script type="text/javascript">
	$(document).ready(function(){
		$(window).bind("resize", resizeWindow);
		function resizeWindow(e){
			var newWindowWidth = $(window).width();

			// If width width is below 600px, switch to the mobile stylesheet
			if(newWindowWidth < 600){ 				$("link[rel=stylesheet]").attr({href : "mobile.css"});	 			} 			// Else if width is above 600px, switch to the large stylesheet 			else if(newWindowWidth > 600){
				$("link[rel=stylesheet]").attr({href : "style.css"});
			}
		}
	});
</script>

There are many solutions for pairing up JavaScript with CSS media queries. Remember that media queries are not an absolute answer, but rather are fantastic options for responsive Web design when it comes to pure CSS-based solutions. With the addition of JavaScript, we can accomodate far more variations. For detailed information on using JavaScript to mimic or work with media queries, look at “Combining Media Queries and JavaScript.�

Showing or Hiding Content

It is possible to shrink things proportionally and rearrange elements as necessary to make everything fit (reasonably well) as a screen gets smaller. It’s great that that’s possible, but making every piece of content from a large screen available on a smaller screen or mobile device isn’t always the best answer. We have best practices for mobile environments: simpler navigation, more focused content, lists or rows instead of multiple columns.

Diggmobile in Responsive Web Design: What It Is and How To Use It

Responsive Web design shouldn’t be just about how to create a flexible layout on a wide range of platforms and screen sizes. It should also be about the user being able to pick and choose content. Fortunately, CSS has been allowing us to show and hide content with ease for years!

display: none;

Either declare display: none for the HTML block element that needs to be hidden in a specific style sheet or detect the browser width and do it through JavaScript. In addition to hiding content on smaller screens, we can also hide content in our default style sheet (for bigger screens) that should be available only in mobile versions or on smaller devices. For example, as we hide major pieces of content, we could replace them with navigation to that content, or with a different navigation structure altogether.

Note that we haven’t used visibility: hidden here; this just hides the content (although it is still there), whereas the display property gets rid of it altogether. For smaller devices, there is no need to keep the mark-up on the page — it just takes up resources and might even cause unnecessary scrolling or break the layout.

Showinghidingcontent in Responsive Web Design: What It Is and How To Use It

Here is our mark-up:

<p class="sidebar-nav"><a href="#">Left Sidebar Content</a> | <a href="#">Right Sidebar Content</a></p>

<div id="content">
	<h2>Main Content</h2>
</div>

<div id="sidebar-left">
	<h2>A Left Sidebar</h2>

</div>

<div id="sidebar-right">
	<h2>A Right Sidebar</h2>
</div>

In our default style sheet below, we have hidden the links to the sidebar content. Because our screen is large enough, we can display this content on page load.

Here is the style.css (default) content:

#content{
	width: 54%;
	float: left;
	margin-right: 3%;
}

#sidebar-left{
	width: 20%;
	float: left;
	margin-right: 3%;
}

#sidebar-right{
	width: 20%;
	float: left;
}
.sidebar-nav{display: none;}

Now, we hide the two sidebars (below) and show the links to these pieces of content. As an alternative, the links could call to JavaScript to just cancel out the display: none when clicked, and the sidebars could be realigned in the CSS to float below the content (or in another reasonable way).

Here is the mobile.css (simpler) content:

#content{
	width: 100%;
}

#sidebar-left{
	display: none;
}

#sidebar-right{
	display: none;
}
.sidebar-nav{display: inline;}

With the ability to easily show and hide content, rearrange layout elements and automatically resize images, form elements and more, a design can be transformed to fit a huge variety of screen sizes and device types. As the screen gets smaller, rearrange elements to fit mobile guidelines; for example, use a script or alternate style sheet to increase white space or to replace image navigation sources on mobile devices for better usability (icons would be more beneficial on smaller screens).

Below are a couple of relevant resources:

Touchscreens vs. Cursors

Touchscreens are becoming increasingly popular. Assuming that smaller devices are more likely to be given touchscreen functionality is easy, but don’t be so quick. Right now touchscreens are mainly on smaller devices, but many laptops and desktops on the market also have touchscreen capability. For example, the HP Touchsmart tm2t is a basic touchscreen laptop with traditional keyboard and mouse that can transform into a tablet.

Touchscreen in Responsive Web Design: What It Is and How To Use It

Touchscreens obviously come with different design guidelines than purely cursor-based interaction, and the two have different capabilities as well. Fortunately, making a design work for both doesn’t take a lot of effort. Touchscreens have no capability to display CSS hovers because there is no cursor; once the user touches the screen, they click. So, don’t rely on CSS hovers for link definition; they should be considered an additional feature only for cursor-based devices.

Look at the article “Designing for Touchscreen� for more ideas. Many of the design suggestions in it are best for touchscreens, but they would not necessarily impair cursor-based usability either. For example, sub-navigation on the right side of the page would be more user-friendly for touchscreen users, because most people are right-handed; they would therefore not bump or brush the navigation accidentally when holding the device in their left hand. This would make no difference to cursor users, so we might as well follow the touchscreen design guideline in this instance. Many more guidelines of this kind can be drawn from touchscreen-based usability.

A Showcase Of Responsive Web Design

Below we have a few examples of responsive Web design in practice today. For many of these websites, there is more variation in structure and style than is shown in the pairs of screenshots provided. Many have several solutions for a variety of browsers, and some even adjust elements dynamically in size without the need for specific browser dimensions. Visit each of these, and adjust your browser size or change devices to see them in action.

Art Equals Work
Art Equals Work is a simple yet great example of responsive Web design. The first screenshot below is the view from a standard computer screen dimension. The website is flexible with browser widths by traditional standars, but once the browser gets too narrow or is otherwise switched to a device with a smaller screen, then the layout switches to a more readable and user-friendly format. The sidebar disappears, navigation goes to the top, and text is enlarged for easy and simple vertical reading.

Artequalswork1 in Responsive Web Design: What It Is and How To Use It

Artequalswork2 in Responsive Web Design: What It Is and How To Use It

Think Vitamin
With Think Vitamin, we see a similar approach. When on a smaller screen or browser, the sidebar and top bar are removed, the navigation simplifies and moves directly above the content, as does the logo. The logo keeps its general look yet is modified for a more vertical orientation, with the tagline below the main icon. The white space around the content on larger screens is also more spacious and interesting, whereas it is simplified for practical purposes on smaller screens.

Thinkvitamin1 in Responsive Web Design: What It Is and How To Use It

Thinkvitamin2 in Responsive Web Design: What It Is and How To Use It

8 Faces
8 Faces’ website design is flexible, right down to a standard netbook or tablet device, and expands in content quantity and layout width when viewed on wider screens or expanded browsers. When viewed on narrower screens, the featured issue on the right is cut out, and the content below is shortened and rearranged in layout, leaving only the essential information.

8faces1 in Responsive Web Design: What It Is and How To Use It

8faces2 in Responsive Web Design: What It Is and How To Use It

Hicksdesign
The Hicksdesign website has three columns when viewed on a conventional computer screen with a maximized browser. When minimized in width, the design takes on a new layout: the third column to the right is rearranged above the second, and the logo moves next to the introductory text. Thus, no content needs to be removed for the smaller size. For even narrower screens and browser widths, the side content is removed completely and a simplified version is moved up top. Finally, the font size changes with the screen and browser width; as the browser gets narrower, the font size throughout gets smaller and remains proportional.

Hicksdesign1 in Responsive Web Design: What It Is and How To Use It

Hicksdesign2 in Responsive Web Design: What It Is and How To Use It

Information Architects
Here is a great example of a flexible image. The image in this design automatically resizes after certain “break� points, but in between those width changes, only the side margins and excess white space are altered. On smaller screens and minimized browsers, the navigation simplifies and the columns of navigation at the top fall off. At the design’s smallest version, the navigation simplifies to just a drop-down menu, perfect for saving space without sacrificing critical navigation links.

Informationarchitects1 in Responsive Web Design: What It Is and How To Use It

Informationarchitects2 in Responsive Web Design: What It Is and How To Use It

Garret Keizer
The website for Garret Keizer is fully flexible in wider browsers and on larger screens: the photo, logo and other images resize proportionally, as do the headings and block areas for text. At a few points, some pieces of text change in font size and get smaller as the screen or browser gets narrower. After a certain break point, the layout transforms into what we see in the second screenshot below, with a simple logo, introductory text and a simple vertical structure for the remaining content.

Garretkeizer1 in Responsive Web Design: What It Is and How To Use It

Garretkeizer2 in Responsive Web Design: What It Is and How To Use It

Simon Collison
With four relatively content-heavy columns, it’s easy to see how the content here could easily be squished when viewed on smaller devices. Because of the easy organized columns, though, we can also collapse them quite simply when needed, and we can stack them vertically when the space doesn’t allow for a reasonable horizontal span. When the browser is minimized or the user is on a smaller device, the columns first collapse into two and then into one. Likewise, the horizontal lines for break points also change in width, without changing the size or style of each line’s title text.

Colly1 in Responsive Web Design: What It Is and How To Use It

Colly2 in Responsive Web Design: What It Is and How To Use It

CSS Tricks
On the CSS Tricks website, like many other collapsible Web designs, the sidebars with excess content are the first to fall off when the screen or browser gets too narrow. On this particular website, the middle column or first sidebar to the left was the first to disappear; and the sidebar with the ads and website extras did the same when the browser got even narrower. Eventually, the design leaves the posts, uses less white space around the navigation and logo and moves the search bar to below the navigation. The remaining layout and design is as flexible as can be because of its simplicity.

Csstricks1 in Responsive Web Design: What It Is and How To Use It

Csstricks2 in Responsive Web Design: What It Is and How To Use It

Tee Gallery
As one can see, the main navigation here is the simple layout of t-shirt designs, spanning both vertically and horizontally across the screen. As the browser or screen gets smaller, the columns collapse and move below. This happens at each break point when the layout is stressed, but in between the break points, the images just change proportionally in size. This maintains balance in the design, while ensuring that any images (which are essential to the website) don’t get so small that they become unusable.

Teegallery1 in Responsive Web Design: What It Is and How To Use It

Teegallery2 in Responsive Web Design: What It Is and How To Use It

City Crawlers: Berlin
When varied between larger screen sizes and browser widths, this design remains flexible. It also remains flexible after a few layout pieces collapse into a more vertical orientation for small screens and narrow browsers. At first, the introductory image, logo and navigation image links resize proportionally to accommodate variations in screen and browser widths, as do the blocks of content below. The bottom columns of content eventually collapse and rearrange above or below other pieces, until (at the narrowest point) they are all stacked vertically. In the layout for the smallest screen and narrowest browser, the slideshow is left out altogether, the navigation is moved below the logo and other images are also removed.

Berlin1 in Responsive Web Design: What It Is and How To Use It

Berlin2 in Responsive Web Design: What It Is and How To Use It

Ten by Twenty
Ten by Twenty is another design that does not resort to changing layout structure at all after certain break points, but rather simplifies responsive Web design by making everything fully flexible and automatically resizing, no matter what the screen or browser width. After a while, the design does stress a bit and could benefit from some rearrangement of content. But overall, the image resizing and flexible content spaces allow for a fairly simple solution that accommodates a wide range of screen sizes.

Tenbytwenty1 in Responsive Web Design: What It Is and How To Use It

Tenbytwenty2 in Responsive Web Design: What It Is and How To Use It

Hardboiled Web Design
On wide screens and browsers, all of the content on this simply designed website is well organized into columns, sidebar and simple navigation up top. It’s a fairly standard and efficient layout. On smaller screens, the sidebar is the first to drop off, and its content is moved below the book previews and essential information. Being limited in space, this design preserves its important hierarchy. Whereas on a wider screen we’d look left to right, on a narrower screen we’d tend to look from top to bottom. Content on the right is moved below content that would appear on the left on a wider screen. Eventually, when the horizontal space is fully limited, the navigation is simplified and stacked vertically, and some repeated or inessential elements are removed.

Hardboiled1 in Responsive Web Design: What It Is and How To Use It

Hardboiled2 in Responsive Web Design: What It Is and How To Use It

Teixido
This design features a complex layout that looks inspired by a print style. When viewed on a standard wide computer screen, more portfolio pieces are featured and spanned horizontally across the page. As one moves down the page, more graphics and imagery span the space. On a smaller screen, the portfolio piece is cut down to one, and then eventually left out altogether for very small screens and narrow browsers. The visualizations below collapse into fewer columns and more rows, and again, some drop off entirely for very small screens. This design shows a creative and intelligent way to make a not-so-common layout work responsively.

Teixido1 in Responsive Web Design: What It Is and How To Use It

Teixido2 in Responsive Web Design: What It Is and How To Use It

Stephen Caver
This design has three main stages at which the design and layout collapse into a more user-friendly form, depending on how wide the screen or browser is. The main image (featuring type) is scaled proportionally via a flexible image method. Each “layout structure� is fully flexible until it reaches a breaking point, at which point the layout switches to something more usable with less horizontal space. The bottom four columns eventually collapse into two, the logo moves above the navigation, and the columns of navigation below are moved on top or below each other. At the design’s narrowest stage, the navigation is super-simplified, and some inessential content is cut out altogether.

Stephancaver1 in Responsive Web Design: What It Is and How To Use It

Stephancaver2 in Responsive Web Design: What It Is and How To Use It

Unstoppable Robot Ninja
This layout does not change at all; no content is dropped or rearranged; and the text size does not change either. Instead, this design keeps its original form, no matter what the change in horizontal and vertical space. Instead, it automatically resizes the header image and the images for the navigation. The white space, margins and padding are also flexible, giving more room as the design expands and shrinks.

Unstoppablerobotninja1 in Responsive Web Design: What It Is and How To Use It

Unstoppablerobotninja2 in Responsive Web Design: What It Is and How To Use It

Bureau
This is perhaps the simplest example of a responsive Web design in this showcase, but also one of the most versatile. The only piece in the layout that changes with the browser width is the blog post’s date, which moves above the post’s title or to the side, depending on how much horizontal space is available. Beyond this, the only thing that changes is the width of the content area and the margin space on the left and right. Everything is centered, so a sense of balance is maintained whatever the screen or browser width. Because of this design’s simplicity, switching between browser and screen widths is quick and easy.

Bureu1 in Responsive Web Design: What It Is and How To Use It

Bureu2 in Responsive Web Design: What It Is and How To Use It

CSS Wizardry
Harry Roberts shows that responsive design can also have quite humble uses. If the user has a large viewport, the website displays three columns with a navigation menu floating on the left. For users with a viewport between 481px and 800px, a narrow version is displayed: the navigation jumps to the top of the site leaving the area for the content column and the sidebar. Finally, the iPhone view displays the sidebar under the content area. Harry also wrote a detailed article about the CSS styles he added to the stylesheet in his article “Media queries, handier than you think“. A nice example of how a couple of simple CSS adjustments can improve the website’s appearance across various devices.

Css-wizardry in Responsive Web Design: What It Is and How To Use It

Css-wizardry2 in Responsive Web Design: What It Is and How To Use It

Bryan James
This last design by Bryan James shows that responsive Web design need not apply only to static HTML and CSS websites. Done in Flash, this one features a full-sized background image and is flexible up to a certain width and height. As a result of the design style, on screens that are too small, the background image gets mostly hidden and the content can become illegible and squished. Instead of just letting it be, though, a message pops up informing the user that the screen is too small to adequately view the website. It then prompts the user to switch to a bigger screen. One can discuss if the design solution is good or bad in terms of usability, but the example shows that Flash websites can respond to user’s viewport, too.

Bryanjames1 in Responsive Web Design: What It Is and How To Use It

Bryanjames2 in Responsive Web Design: What It Is and How To Use It

Conclusion

We are indeed entering a new age of Web design and development. Far too many options are available now, and there will be far too many in the future to continue adjusting and creating custom solutions for each screen size, device and advancement in technology. We should rather start a new era today: creating websites that are future-ready right now. Understanding how to make a design responsive to the user doesn’t require too much learning, and it can definitely be a lot less stressful and more productive than learning how to design and code properly for every single device available.

Responsive Web design and the techniques discussed above are not the final answer to the ever-changing mobile world. Responsive Web design is a mere concept that when implemented correctly can improve the user experience, but not completely solve it for every user, device and platform. We will need to constantly work with new devices, resolutions and technologies to continually improve the user experience as technology evolves in the coming years.

Besides saving us from frustration, responsive Web design is also best for the user. Every custom solution makes for a better user experience. With responsive Web design, we can create custom solutions for a wider range of users, on a wider range of devices. A website can be tailored as well for someone on an old laptop or device as it can for the vast majority of people on the trendiest gadgets around, and likewise as much for the few users who own the most advanced gadgets now and in the years to come. Responsive Web design creates a great custom experience for everyone. As Web designers, we all strive for that every day on every project anyway, right?

Further Resources

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Influence of Print: Incorporating Newspaper & Magazine Layout Design

New web pages are being designed every day. Great web designers not only keep up with the rest of the pack, but stays ahead of it by tracking what the current trends in web design are. Right now the influence of print design on the web is making quite an appearance in online page design. While many consider the days of newspaper to be archaic and magazines to be a waste of trees, there is great design to be found in these publications. Using that as inspiration for your web pages could jump you up to the cream of the web designer crop.

Print publications have decades worth of experience in the type of design that works and is the most impactful. The best design is always powerful, clear, simple and easy to understand. Negative or white space is king when you are talking about print advertisements including billboards, magazine layouts, newspaper ads and other forms of visual marketing.

The Internet has not necessarily followed this method of reaching their target audiences and making a strong statement to their traffic. One of the greatest benefits to web design is that users are not restricted in what they can say. There is no per word charge when designing a webpage. There was also a lot of flexibility in what graphics could really do. Print advertising does not allow users to incorporate audio, video or Flash. The novelty of being able to design and use these tools is really the fuel for early webpage design.

Today, however, the market is asking for less clutter. They are overloaded with all the information available on the Internet. There is a demand for better search engines, easier to navigate websites, and simply less animation and distracting graphics in modern web design.

This type of design is especially frustrating and ineffective for businesses and marketers who are trying to get one message across. It is too easy for that simple message to get lost in the bells and whistles of an overly design website.

Instead of reinventing the wheel, web designers are going to the experts of old. Print publications have mastered these challenges and understand what it takes to get an audience’s attention.

Typography


The selection of a font is crucial in web page design. Designers need to have an understanding of how fonts affect a design in general, how they affect readers and how best to use them. Typography is design’s way of communicating without speaking. It is common knowledge that the written world can be easily misinterpreted since there are know vocal inflections or an idea of tone.  If your message is not clear or can be easily miscommunication, you lose impact. If you have a great message, but it does not stand out in your design, you lose impact. Designers have to find the right balance in order to properly communication with their target audience and traffic.

Editorial Layouts

When web design began, traditional layout rules were thrown out the window. Frames and tables were the thing and design revolved around creative ways to use them. However, with the demand for simplification and the popularity of blogs – today’s websites more closely resemble their print ancestors.

Print layout design, especially magazine layouts, is great for controlling content heavy sites as well. Not only are the advertisements influential, but the editorial content and design is becoming the go to for blogs, ezines and other content rich websites.

Big bold headlines are common using keywords that enhance SEO techniques. However, the art of the headline is the offspring of newsprint. Other common print approaches that are being used more in web design include indented text, quotations, text in multiple columns and sidenotes and footnotes.

Striking and interesting graphics and photography have always been fundamental parts of design. The layout of these images is also being influenced by traditional print layouts.

Of course, the reason websites were not using these techniques originally is the complication of creating pages using this design style. This is no different today. Beginning web designs may find it difficult to code this kind of layout since the advanced HTML and CSS can take up much more time than more common design approaches.

However, those designers who are familiar with traditional web design are looking for ways to make their sites more appealing and interesting. Incorporating print design ideas and layouts is one of the ways to make a designer’s work stand out. Magazine layouts are known to have even more impact than television advertising – this means spending time studying magazines and using them for inspiration and motivation.

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