Arquivo de ‘706’ categoria

The Life, Times (and Death?) of Internet Explorer 6 (Comic Strip)

fevereiro 11th, 2010
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In recent years Internet Explorer 6 has become the browser web designers love to hate. Security issues, JavaScript errors and inexplicable CSS rendering quirks have made it the brunt of many jokes. With IE6 in its twilight and big companies like Google dropping support, it seems like a good time to take a fond look back at our old foe. In this post we’re looking at what Internet Explorer 6 used to be and why its image changed over the years. You can also see the comic in a larger version.

Do we need to review our projects in Internet Explorer 6? Can we stop supporting IE6? If not, how do we handle those users who are still using IE6? And if yes, how can we prompt IE6 users to upgrade? Or how do we convince those who don’t allow their employees to get rid of the legacy browser to upgrade? What do you think? We are looking forward to your opinions in the comments to this post!

Ie6 One in The Life, Times (and Death?) of Internet Explorer 6 (Comic Strip)

Ie6 Two in The Life, Times (and Death?) of Internet Explorer 6 (Comic Strip)

Ie6 Three in The Life, Times (and Death?) of Internet Explorer 6 (Comic Strip)

Ie6 Four in The Life, Times (and Death?) of Internet Explorer 6 (Comic Strip)

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© Brad Colbow for Smashing Magazine, 2010. | Permalink | 60 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Better User Experience With Storytelling, Part 2

fevereiro 11th, 2010
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In the first part of this Better User Experience With Storytelling series, we explored some of the basic structures and story patterns found in myths and religions. We saw how these patterns continued into modern stories such as The Matrix and Star Wars. We also explored some of the basics of bringing storytelling into the user experience process and some places to get started.

Concluding this two-part article, we hear from creative professionals who are leading the way in this relatively new world of combining the craft of storytelling with user experience. We’ll also see how storytelling can be applied to more than just interactive experiences: we find it in everything from packaging to architecture.

UX Cover 2 in Better User Experience With Storytelling, Part 2 />Image credit: guldfisken

[Offtopic: by the way, do you know the Smashing Network has its own Smashing Network RSS Feed? Only excerpts are displayed in the feed.]

A Few Modern-Day Storytellers

Although the idea of using storytelling within the user experience process is fairly new, a few professionals are using it in their projects. I spoke with some of these modern-day storytellers to get their perspective and see how they are applying storytelling to their work.

Dorelle Rabinowitz

Dorelle is a storyteller who designs, illustrates and tells stories in a variety of media and contexts. Mostly she tells stories.

Dorelle in Better User Experience With Storytelling, Part 2

Question: How do you approach storytelling in UX?

Dorelle: I see it as another tool we can use as a catalyst for communicating during our design activities. For me as a designer, it’s about putting a human face on the design process and bringing people together. You can get designers, engineers, product managers, strategists and execs jazzed about a proposed feature because of a story, and it can be extremely fulfilling. As a person, it’s all about the emotional connection.

Back in the day, I’d worked on an Oxygen media site called “Our Stories,” where we created short online digital stories with our audience. We called it co-creation, and when I moved more into designing user experiences I realized that stories helped me understand my users better. As I did more and more work, I realized that storytelling facilitates communication, that people respond emotionally to stories, bond over stories and share stories again and again, and that the more I integrated storytelling into my work the better the work was.

So much of what we do isn’t only about the design but about how we deal with people, negotiate and plan. Storytelling can be effective in all of these situations as well as in driving towards our solutions. I think the value of using stories is independent of the type of experience.

Question: In the end, business goals (i.e. profit) rules the day. How does storytelling tie into this?

Dorelle: Stories help bridge understanding, so storytelling can help teams get on the same page and speak the same language—leading to expected results. Stories can help people work more collaboratively and thus help teams get it done faster—faster time to market. Stories can help reframe business problems so that projects solve the right problems and come to a better solution.

Question: Where is the best place to learn more?

Dorelle: Cindy Chastain’s article in Boxes and Arrows on Experience Themes is a great read.

Curt Cloninger

Curt is an artist and writer. He says his art doesn’t really tell a standard narrative with a climax and resolution but rather tries to create a kind of event experience.

Curt in Better User Experience With Storytelling, Part 2

Question: How do you approach storytelling in UX?

Curt: Design, particularly graphic design, can be understood as a visual form of communication, and storytelling is a historically tested form of communication. Storytelling or narrative design is more like something to keep in mind when considering the user’s experience.

To me, narrative design just means having a consistent “voice” and having every design element contributing to the same goal or conclusion. It also means allowing for an arc in the user experience. And it means allowing the user to have some kind of personal say in completing her experience. This is the difference between a novel (where the user mentally fills in lots of visual blanks) and a Hollywood action film (where all the blanks are filled in for the user). A novel is arguably more engaging.

Question: In the end, business goals (i.e. profit) rules the day. How does storytelling tie into this?

Curt: Hollywood tells stories, and they seem to make a lot of money. Politicians, journalists and large corporations often tell stories (i.e. lies), and they make money. The evolution of any brand over time is a kind of narrative. Corporations spend all sorts of money trying to convince us that their main character (Ronald McDonald) is the good guy. Narrative and capitalism have always enjoyed a fruitful relationship.

Question: Where is the best place to learn more?

Curt: I like Nathan Shedroff’s Experience Design book. It’s more about “XD” than “UX,” but it addresses narrative at several points throughout. Richard Schechner’s href="http://books.google.com/books?id=sVRvCoaHAREC&dq=Richard+Schechner's+"Performance+Theory"&printsec=frontcover&source=bn&hl=en&ei=k7NDS_nxI4zqMdDUsI4J&sa=X&oi=book_result&ct=result&resnum=5&ved=0CB0Q6AEwBA#v=onepage&q=Richard%20Schechner's%20%22Performance%20Theory%22&f=false">Performance Theory is good. It has nothing to do with user experience design per se, but it is about theater, tribal ritual and the cultural interfaces that people construct to give meaning to their worlds.

Christian Saylor

Christian is a storyteller who designs user experiences. He believes that the things around us have very powerful stories to tell.

Christian in Better User Experience With Storytelling, Part 2

Question: How do you approach storytelling in UX?

Christian: Storytelling gives us purpose and a sense of place. So, it hasn’t been so much a “discovery” of storytelling as a natural progression towards uncovering an experience buried deep within a narrative that wants to be told. So this idea of adopting “storytelling” as a means to uncover a rich experience for the “end” user, whoever they may be, just makes sense.

At the end of the day, the job of the (UX) designer is to help tell a story that is relevant and meaningful, regardless of time, device or even location. We use “personas” (characters in our story) and “scenarios” (narratives that tell a story about the persona) in order to fully understand not only the target audience but also their goals and desires, which will ultimately help to create a meaningful experience for them.

I strongly believe that everything has a story associated with it. Every business, social group, concept, methodology and relationship is desperately seeking out better ways to engage with its audience. Some just happen to do it on a large scale (Apple), while others quietly create a pattern of life that goes unnoticed until it disappears (the remote control). From packaging that sits on the store shelf to the applications that follow us throughout our days, story influences just about every aspect of our lives. Story is all around us. It gives us a sense of understanding and knowledge of the people and things that are important to us.

I think the most important aspect of storytelling for me is that it has the ability to change the way we view and interact with our world.

Question: In the end, business goals (i.e. profit) rules the day. How does storytelling tie into this?

Christian: If you’re telling the right story to the wrong audience, or even telling the right story the wrong way, then your business or product will ultimately fade away. Design and technology are the catalysts of change in the “experience economy.” And if we don’t seek out better ways to tell our story, then our business, product or service will be in jeopardy of losing its vitality. And as we all know, the business world is constantly looking at the bottom line. We live in a world saturated by products and services that vie for our attention, and the experience—the way in which a story is unfolded—will be the difference between a company’s success and failure.

Question: Where is the best place to learn more?

Christian: Lovemarks (the future beyond brands) by Saatchi & Saatchi. It has unbelievable insight into the way we fall in love with the companies and products that surround us.

(Disclosure: Both Christian and the author are employees of Universal Mind.)

Cindy Chastain

Cindy is a trained filmmaker and screenwriter. She continues to make films and write scripts and considers herself a visual and dramatic storyteller.

Cindy in Better User Experience With Storytelling, Part 2

Question: How do you approach storytelling in UX?

Cindy: Storytelling is another discipline that can be used in the context of design as 1) a device, 2) a framework and/or 3) a craft to draw upon. In other words, we can use story as a way to capture and sell an idea; we can use it as a way to frame an approach to the design of a product or service; or we can use narrative techniques to craft an interaction and, hence, a variety of behavioral and emotional responses to a story.

We tell stories that seek to order chaos, provide meaning and engage the emotions of our listeners. We design experiences that hopefully do something similar. But in the context of design, meaning is also about what this experience, product or service will do for a person. It’s about how something fits into or enhances his life. It’s about understanding how something is supposed to function.

As designers we do well at facilitating the dialogue between people and the interactive products they use. But we often neglect to consider the more intangible layer of experience, the stories that evolve dynamically through interactions that people have with the things we make. We also lack an approach to holistic design. If we can learn to approach design more like writers approach stories, we will not only build richer experiences but start to develop a craft in our work that knows how and when certain narrative techniques can be used to engage the minds, emotions and imaginations of users.

Knowing the craft of narrative will help us build better stories, which will help us turn a set of lifeless features and functions into a whole experience that engages the minds and emotions of customers.

Question: In the end, business goals (i.e. profit) rules the day. How does storytelling tie into this?

Cindy: Brand message is no longer the thing that sells. Experience sells. If the intangible pleasure, emotion or meaning we seek can be made tangible through the use of story and narrative techniques, we will build more compelling product experiences. And if the experience is more compelling, businesses will profit from droves of loyal, experience-discerning customers.

Without this understanding, choices about what features should be included and how they should behave seem both uninspired and disconnected. Sure, we have business goals, user needs, design principles and best practices to draw on, but these things won’t get us to a place where a team is collaborating in the same conceptual space, let alone designing for emotion and meaning.

Question: Where is the best place to learn more?

Cindy: Start with the discipline itself, like Story, Robert McKee’s book about screenwriting. For a dive into theory, I recommend Narration in the Fiction Film, by David Bordwell and the classic Computers as Theatre by Brenda Laurel. And for the first word on storytelling read The Poetics by Aristotle.

The Storytelling Experiences Around Us

There are many experiences in which storytelling is used to create a compelling message that draws users in. The stories are not always visible or apparent right away, but underneath many good experiences we can find great stories. They may appear in a series of interactions that tie into a larger story or simply in an emotional connection that we form with a product or brand.

In Packaging: Apple

Iphonebox in Better User Experience With Storytelling, Part 2 /> Image source: Re.Mo and Typical Story Arc.

One company the excels at delivering a powerful story is Apple. Laid over the image of the iPhone box above is the story arc (introduced in part 1) that most screenplays and novels follow. Purchasing an Apple product and opening the many beautiful layers of the packaging follow a similar story arc in building anticipation. As you move through the process, you find compelling photography and clever writing. These build a sort of satisfying tension until you finally arrive at the climax of the experience and uncover the iPhone. A more common anti-climactic approach would be to wrap the iPhone in bubble plastic, reducing the story to a mere “Buy me.”

In Technology: Microsoft Courier

Microsoft Tablet in Better User Experience With Storytelling, Part 2

The Microsoft Courier device is in the “late prototype” stage of development. This is more of a booklet than Apple’s iPad, with dual multi-touch screens. This video uses storytelling to take you through the user experience of the booklet. Instead of simply running through some of its cool features, it tells us the compelling story of a project in which the potential of the Courier is exploited.

In Marketing: Six Scents Perfume

Perfume in Better User Experience With Storytelling, Part 2

The Six Scents range of fragrances is created annually by pairing six prominent artists with six celebrated perfumers. The goal is to help raise awareness for a specific charitable cause. For the second series, each bottle comes with a DVD that contains a film and photography. The film and imagery create a story around each scent to evoke a certain feeling and theme.

In Architecture: HBO Store

Hbo in Better User Experience With Storytelling, Part 2

The HBO Store (in mid-town Manhattan) is designed with storytelling built seamlessly into an immersive experience. The architecture and technology allow the space to become a new way to experience the props and merchandise for the HBO-based shows. The goal of the store (designed in part by design and branding studio Imaginary Forces) was to create an intelligent and memorable experience for visitors.

In Data: Taxi07:Roads Forward

Taxi in Better User Experience With Storytelling, Part 2

In her comments on storytelling, Dorelle Rabinowitz shows how storytelling can be used to communicate otherwise boring data and turn it into a more accessible experience. One example of this was Taxi07:Roads Forward. It was a report for the New York City Taxi & Limousine Commission on the current state of the taxi cab industry in New York. The information was presented through stories in comic book form and beautiful infographics.

In Websites: Showtime Sports

Sho in Better User Experience With Storytelling, Part 2

In a project for Showtime Sports, Cindy Chastain and the team at Interactive Partners created an engaging experience for fans using experience themes. Fans would be able to follow and learn about the full fight story online interactively through video. The experience themes guided not just the content but the functional requirements and website architecture.

The End Is The Beginning Of This Story

Many aspects of storytelling and user experience could not be covered in a few articles. This series is meant to give you a starting point to explore and learn more. The end of this story hasn’t been written. This is just the beginning of using storytelling in new ways.

Here are a few good tools to start with:

Resources

Authors note: A special thanks to the storytellers interviewed for this article for taking time to share their thoughts and experiences with me.

(al)

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© Francisco Inchauste for Smashing Magazine, 2010. | Permalink | 11 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Developing Sites With AJAX: Design Challenges and Common Issues

fevereiro 11th, 2010
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Almost every movie has a scene in which a character pull the protagonist aside and says, “There’s something you should know about [insert another character's name here].” Most of the time, we find out some dark secret about a supposed friend of the protagonist or that the main ally is actually an evil overlord. This is that moment, and I am here to tell you a few things about our friend in the Web 2.0 world: AJAX.

We seem to have AJAX licked. The Web technology is ubiquitous, and libraries and frameworks make it dead easy for us to create highly interactive Web applications and to spice up our static pages and blogs.

For example, we could take the following HTML…

<div id="target"></div>
<p><a href="#" class="ajaxtrigger">Let there be AJAX magic</a></p>

… and add this jQuery code:

$('.ajaxtrigger').click(function(){
  $('#target').load('ajaxcontent.html');
});

In a browser, if we clicked on the link labelled “Let there be AJAX magic,” the content of the HTML document ajaxcontent.html would be loaded and written into the element with the ID target. You can try this very simple AJAX example here. It’s simple and easy to use, but what’s really happening there? What is AJAX?

[Offtopic: By the way, did you know that Smashing Magazine has a mobile version? Try it out if you have an iPhone, Blackberry or another capable device.]

What Is AJAX?

After the main HTML document has loaded, AJAX loads content from the server and replaces parts of the document with that content rather than reload the main document. It’s as simple as that. AJAX stands for “Asynchronous JavaScript and XML” and was meant to load only XML documents, but we soon used it to load everything under the sun, and so the XML part was quickly forgotten. The asynchronous part is the killer feature; but what is it?

Ajax in Developing Sites With AJAX: Design Challenges and Common Issues />The traditional model for web applications (left) compared to the Ajax model (right).

Let’s start by analysing how a normal Web interaction works:

  1. The user enters a URI (like http://wait-till-i.com/index.php) into a user agent (usually a browser).
  2. The browser turns this URI into an IP and requests the file located at the URI specified endpoint.
  3. The browser loads the file and, if it recognizes the document type, tries to display it.
  4. If the document is in HTML, we get an interface that we can interact with; for example, by clicking a link or entering data into a form and submitting it.
  5. In both cases, the whole document is replaced and the sequence restarts.

This has worked since the beginning of the Web and has become expected behaviour for Web surfers. With AJAX, we disrupt this sequence of events. Instead of reloading the document or loading a new one, we replace only a part of the interface, either when the user requests it or automatically every few seconds to display new information.

The benefits of AJAX are pretty clear:

  • We maintain a consistent interface, rather than discard it only to bring it up again with a few slight changes after a long and annoying loading process.
  • We request only the data that we need, when we need it, saving us a lot of server traffic.
  • We are able to offer data without wrapping HTML around it to make it an interface.
  • We allow for simultaneous interaction; a user would be able, for example, to fill out a form while an attachment uploads in the background.

However, with great power comes great responsibility, and with AJAX we have taken it upon ourselves to simulate browser behavior for end users.

AJAX Should Not Break The Web

The first thing to make sure of is that you do not break the Web with your AJAX solutions. The above example would, though:

<div id="target"></div>
<p><a href="#" class="ajaxtrigger">Let there be AJAX magic</a></p>

This is not useful HTML. If JavaScript is not available or anything else goes wrong, you would be offering the end user a link that goes nowhere. This is annoying; I’ve come to your website, took the step of clicking a link, got excited by the prospect of awesome content but don’t get anything. Not good. So, rather than keep the URI in the JavaScript part of the AJAX solution, leave it in the HTML:

<div id="target"></div>
<p><a href="ajaxtest-fullpage.html" class="ajaxtrigger">
  Let there be AJAX magic
</a></p>

This would ensure that the link works; if there is a JavaScript error, the browser would simply move on to load and display ajaxcontent.html. The jQuery code would change accordingly:

$('.ajaxtrigger').click(function(){
  var url = $(this).attr('href');
  $('#target').load(url);
  return false;
});

Instead of hard-wiring a URI to load, we just read the href attribute of the link. The return false is needed to stop the browser from following the link after jQuery has initiated the AJAX request. This also means that any link with the class ajaxtrigger will load content via AJAX and display it in the element with the ID target. You can try this reusable AJAX example here.

There is a problem, of course, because the document we load might be a full HTML document, with a head and a body and so on. This works well in the browser, but the AJAX request would load and inject this document it into another document, which is invalid HTML and would cause display issues. Try this out by clicking the “Load a full document” link on the page referred to above.

Let’s say that ajaxtest-fullpage.html is the following:

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN"
 "http://www.w3.org/TR/html4/strict.dtd">
<html>
<head>
  [... some links and title and so on ...]
</head>
<body>
<div id="doc" class="yui-t7">
  <div id="hd" role="banner"><h1>Excerpt from Alice's Adventure Underground</h1></div>
  <div id="bd" role="main">
    <blockquote
     cite="http://ia341030.us.archive[...]-h.htm">
      <p>Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had  peeped into the book her sister was reading, but it had no pictures or conversations in it, and where is the use of a book, thought Alice, without pictures or conversations? So she was considering in her own mind, (as well as she could, for the hot day made her feel very sleepy and stupid,) whether the pleasure of making a daisy-chain was worth the trouble of getting up and picking the daisies, when a white rabbit with pink eyes ran close by her.</p>
    </blockquote>
    <p>Excerpt taken from
      <a href="http://ia341030.us.archive[...]-h.htm">archive.org</a>.
    </p>
  </div>
  <div id="ft" role="contentinfo">
    <p>Demo by <a href="http://wait-till-i.com">Chris Heilmann</a></p>
  </div>
</div>
</body>
</html>

jQuery is all about selectors, which is why the load() function allows you to cut down on the returned HTML by defining a selector. This means that you can change the script to the following (you can try the selector filtering example for yourself):

$('.ajaxtrigger').click(function(){
  var url = $(this).attr('href');
  $('#target').load(url+' #bd blockquote');
  return false;
});

This loads only the blockquote into the other document, so you wouldn’t be creating invalid HTML with the AJAX call. However, we lose the other benefit of AJAX, which is to load less content. If the page is 100 KB and you want to show only the main text, which is 2 KB, why should your users have to wait for 98 KB to load?

To work around this, you need to go server-side. In PHP, you can get information about the request that was sent to load the page. One bit of information is the request method; JavaScript libraries such as jQuery send a specific header across when they load a document with AJAX. You can use this in PHP to set up conditional content:

<?php if($_SERVER['HTTP_X_REQUESTED_WITH']=='XMLHttpRequest'){?>
This is content requested by AJAX.
<?php }?>

<?php if($_SERVER['HTTP_X_REQUESTED_WITH']==''){?>
This is the normal content requested in a browser
<?php }?>

Try this header, switching out example for yourself: click the “Load a document with AJAX” link, and then right-click (or Command-click) the same link to open it in a new tab (or hit the “Load the same document without AJAX” link). The results should be “This is content requested by AJAX” and “This is the normal content requested in a browser” respectively.

This way, you can keep all of the header and footer information in includes and load them only when the request could not be done with AJAX. Try the header includes example to see it in action:

<?php if($_SERVER['HTTP_X_REQUESTED_WITH']==''){?>
  include('header.php');
<?php }?>

<blockquote
 cite="http://ia341030.us.archive[...]-h.htm">
  <p>Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, and where is the use of a book, thought Alice, without pictures or conversations? So she was considering in her own mind, (as well as she could, for the hot day made her feel very sleepy and stupid,) whether the pleasure of making a daisy-chain was worth the trouble of getting up and picking the daisies, when a white rabbit with pink eyes ran close by her.</p>
</blockquote>
<p>Excerpt taken from
  <a href="http://ia341030.us.archive[...]-h.htm">archive.org</a>.
</p>

<?php if($_SERVER['HTTP_X_REQUESTED_WITH']==''){?>
  include('footer.php');
<?php }?>

Using this “unobtrusive AJAX” approach does a few things:

  • You don’t create broken links, ever.
  • You make it easier to maintain functionality; no need to hunt for URIs in the JavaScript—everything is in the HTML.
  • You allow users to open links in another window or tab.
  • You maintain the AJAX-enabled and AJAX-disabled content in the same document without duplicating content.

“Unobtrusive JavaScript” is the term for this method of developing highly interactive websites. It was coined by Stuart Langridge in 2002, and I wrote a self-training course for it in 2004. Incidentally, Stuart was also the first author to cover AJAX in a JavaScript book, the unfortunately named DHTML Utopia. My own not-quite-so-succinctly-titled book Beginning JavaScript with DOM Scripting and AJAX was, I think, the second. Both books follow the approach shown here and create AJAX solutions that fall back to non-JavaScript versions.

Jeremy Keith tried to further popularize this idea of “safer AJAX” in 2006 by calling it “Hijax”, and he wrote a book titled Bulletproof AJAX in 2007. Sadly, though, I have encountered people who use this as an excuse, saying, “We’re building an AJAX solution now, and we’ll move it to Hijax later.” This will not work! Do it right the first time and you’ll have a stable solution. There is no “We’ll fix it in the next iteration” when it comes to essential functionality in Web development: 12 years of professional development have taught me that much.

AJAX Design Challenges

In dealing with AJAX as designers, we have to reconsider the ways in which we define interfaces. Rather than concentrate on the look and feel of the page and subsequent pages, we need to drill down to an atomic level. Each part of an AJAX interaction needs to be defined. Also, think about non-JavaScript versions of widgets.

With AJAX interfaces, we move into a world of applications that have states and views and out of a world in which our document or page model was based on ideas carried over from print. This for me is a good thing. The Web is a rich medium, not a sequence of linked designs.

AJAX And Usability

As mentioned, we use AJAX to disrupt the normal browsing behaviour of our users. This can be a good thing: no one claims that browsers do everything right, but understanding just how many things we should take care of when taking over the browser is important.

What Browsers Do That You Need to Simulate

We sometimes forget just how many things the browser does for us:

  • When we click a link, an indicator alerts us to a loading process (whether an animated icon, progress bar, etc.).
  • For large files, the progress bar gives us an idea of how far we’ve reached in the loading process.
  • If we get tired of waiting, we can hit the “Stop” button or try again by reloading the page.
  • If a page cannot be found, we are shown an error page.
  • If a page takes too long to load, we are shown an error page.
  • Other errors we encounter (for example, a page that needs authentication, or a document that has been moved) are also displayed on a special page.
  • We can right-click a link to open it in a new tab or window, instead of replacing the current document.
  • We can bookmark a page and come back to it at any time in the future.
  • When we need to undo something that’s gone wrong, a “Back” button takes us back one step in our journey.

All of this needs to be accounted for in a full-fledged AJAX application, because AJAX should improve the end user’s experience rather than make it harder. Let’s now enhance our AJAX script until we can say that we’ve covered the basics.

Bookmarking and the Back Button

One thing I won’t go into in detail is the “Back” button and bookmarking functionality. To make this work, you need to update the URI of the current page with a fragment and reload a hidden frame in the page. There are all kinds of annoying differences between browsers, too, and you can use something like the history plug-in for jQuery to get this to work.

Alerting the User That Something Is Loading

Probably the first thing to fix is to tell the user that something is loading when they click a link or push a button. If the page shows no apparent change, the user will think something is wrong and keep clicking. This is an unfortunate human reflex, because the more you tell a computer to do something, the slower and more confused it gets.

A simple way to provide the user with feedback is to show a loading message. To do this in jQuery, we need to get away from the load() method and instead use ajax(), which gives us information about what happens to the request, such as:

  • The beforeSend event that is fired before the AJAX request is initiated, and
  • The success event that is fired when the AJAX request is successful.

Putting them together, we can add a loading message to the target element when the AJAX request starts, which is replaced when the data has successfully loaded:

$(document).ready(function(){
  var container = $('#target');
  $('.ajaxtrigger').click(function(){
    doAjax($(this).attr('href'));
    return false;
  });
  function doAjax(url){
    $.ajax({
      url: url,
      success: function(data){
        container.html(data);
      },
      beforeSend: function(data){
        container.html('<p>Loading...</p>');
      }
    });
  }
});

Error Handling

As you may have guessed, the next logical step is to handle error cases. This is something far too many AJAX solutions haven’t gotten right, and seeing a great application become useless just because one call has timed out is very frustrating.

We have to prepare for three different errors:

  • The user tries to load an external file that is not available because of AJAX security settings;
  • There is some server error (for example, “Page not found”);
  • The resource takes too long to load.

The following script takes care of all this, and you can see it in action on the error handling demo page.

$(document).ready(function(){
  var container = $('#target');
  $('.ajaxtrigger').click(function(){
    doAjax($(this).attr('href'));
    return false;
  });
  function doAjax(url){
    if(url.match('^http')){
      var errormsg = 'AJAX cannot load external content';
      container.html(errormsg);
    } else {
      $.ajax({
        url: url,
        timeout:5000,
        success: function(data){
          container.html(data);
        },
        error: function(req,error){
          if(error === 'error'){error = req.statusText;}
          var errormsg = 'There was a communication error: '+error;
          container.html(errormsg);
        },
        beforeSend: function(data){
          container.html('<p>Loading...</p>');
        }
      });
    }
  }
});

The changes are:

  • We test whether the link URI starts with http and then report an error that loading it with AJAX is not possible.
  • If the link doesn’t begin with http, we start a new AJAX request. This one has a few new features:
    • We define a timeout of 5 seconds (i.e. 5000 milliseconds);
    • We add an error handler.
  • The error handler either sends us what happened on the server as req.statustext or gives us the error message timeout when the 5 seconds are up. So, we need to check what we got before we write out the error message.

Highlighting Changes

We’re almost done enhancing the usability of our AJAX solution. One last touch is to make it very obvious that something on the page has changed. The standard way of doing this is called the yellow fade and was introduced in 2004 by 37signals in its Basecamp application.

With this technique, you change the background colour of the element to yellow and then fade it smoothly back to white. This grabs the user’s attention without overloading them (unlike zooming in on the content in or popping it up, PowerPoint style, which would overwhelm), and it is pretty easy to implement.

jQuery has a plug-in in the effects package called Highlight that does exactly that. Using it, we can highlight the AJAX returns, making it very obvious that something has changed:

$(document).ready(function(){
  var container = $('#target');
  $('.ajaxtrigger').click(function(){
    doAjax($(this).attr('href'));
    return false;
  });
  function doAjax(url){
    if(url.match('^http')){
      var errormsg = 'AJAX cannot load external content';
      container.html(errormsg).
        effect('highlight',{color:'#c00'},1000);
    } else {
      $.ajax({
        url: url,
        timeout:5000,
        success: function(data){
          container.html(data).
            effect("highlight",{},1000);
        },
        error: function(req,error){
          if(error === 'error'){error = req.statusText;}
          var errormsg = 'There was a communication error: '+error;
          container.html(errormsg).
            effect('highlight',{color:'#c00'},1000);
        },
        beforeSend: function(data){
          container.html('<p>Loading...</p>');
        }
      });
    }
  }
});

Notice the different colors for the error case and success case.

This is about all we need to do to make AJAX more usable. But to make it accessible to everyone out there, we have to do a bit more.

AJAX And Accessibility

Accessibility does not mean much more than hard-core usability. If the “average” user is confused by an interface that doesn’t work as they expect, imagine the predicament of users who cannot see the interface at all. Or think someone who has trouble noticing changes from one page to the next and all of a sudden has to deal with small changes on individual pages—changes they are not notified about. Imagine a keyboard user tabbing through a document to activate a link and out of the blue being confronted by 10 more links. There are a lot more cases such as these, and your interface should be able to handle them at least at a very basic level.

Much Ado About Screen Readers

If you research the topic of AJAX and accessibility, you will come across a lot of tutorials that deal with the problem of screen readers. I won’t go into details—this could be its own article—but here are the main points:

  • Screen readers are tools that read out to visually impaired users what is on the screen (or in the HTML and hidden by CSS).
  • Screen readers work on top of the normal browser and enhance its functionality. Specifically, they allow for quicker keyboard navigation (for example, jumping from headline to headline with a shortcut).
  • They take a copy of a document after it has loaded and apply changes to it.
  • This means that screen readers understand JavaScript, but they only execute a request when the page has loaded. If you change a document with JavaScript and AJAX after it has loaded, you need to notify the screen reader somehow that something has changed and refresh the copy of the page. This can be done by refreshing a form field as a hack.

The real problem with screen readers, and any assistive technology, is that they add yet another level of complexity to our Web interaction.

We have HTML interfaces such as links and forms that need to work with all kinds of input devices: keyboard, mouse, voice recognition software, to name a few. Then the browser needs to somehow tell the assistive software (whether a screen reader or software that zooms the screen or a voice recognition tool) that something has changed, and that other tool has to translate it into an understandable format. All of this can, and frequently does, fail.

Much like how HTML 5 is being pushed to replace HTML 4 because the latter is not rich enough to support the interfaces we want to build, WAI-ARIA is a standard that works around the problem of assistive technology and browsers not talking to each other.

With WAI-ARIA, you can tell a screen reader, for example, that a particular element on the page changes frequently and will be refreshed with AJAX. Again, this topic is too big to cover here, but some good articles are out there in case you are interested.

Important Feature #1: Keyboard Access

One very important requirement of accessibility and AJAX is providing keyboard access, and doing this in a very basic way is not hard. The element that triggers the AJAX call has to be something that users can access with the keyboard (i.e. either a link or a button). You can test this yourself: simply use the Tab key to jump from one keyboard-accessible element to the next in your document. Can you access all of the functionality, and is it obvious where you are at any given moment?

This is where you as a designer can do a lot to make your AJAX interface more accessible. Patrick Lauke has written a wonderful article on keyboard-access styling to get you on your way.

Important Feature #2: Notify at the Source

The second, very important, part is to notify users in the element that they activated that something is happening. You’ll often see interfaces where the activation button or link is in one spot but the content gets loaded somewhere else on the screen. One example of this is the contact form on Get Satisfaction:

Get-satisfaction-small2 in Developing Sites With AJAX: Design Challenges and Common Issues />Large view

When we can see the screen in full, everything is pretty obvious. But consider an end user who has to magnify the screen to 1600% to be able to read it. Or someone who gets easily confused and uses a tool to focus on the part of the screen they are interacting with and blur out the rest. Their experience is different:

Zoomed in Developing Sites With AJAX: Design Challenges and Common Issues

By clicking this, the user expects to be able to submit feedback. Instead, all they get is a darker screen, which could be a hardware problem (running out of battery?) or something else entirely. They have no information on which to base their next move.

You don’t even have to go as far as considering people with disabilities: just use a netbook whose viewport is a mere 300-pixels high (like my first-generation Eee PC) or a mobile interface that zooms into a certain part of the page (like my Blackberry with Opera Mini).

In any of these cases, your AJAX solution will be neither usable nor accessible if the section that is replaced is far removed from the button that fires the AJAX request.

You have two workarounds. The most obvious one is to keep the elements close together. If that is not possible, the other workaround is to change the content of the element that fires the AJAX request once the user clicks on it. This indicates to the end user what is going on.

Notifications in Developing Sites With AJAX: Design Challenges and Common Issues

As an added assistance, you can shift the keyboard focus to the target element when the AJAX request has been processed. Be aware, though, that this could confuse some users; being jumped around the screen without meaning to can be scary. Pretty, smooth-transitioning solutions look good to the rest of us, but they can be a total nightmare for users with learning disabilities.

Putting all of this together, take a look at this more accessible example. It adds a span to the link to show the state of the AJAX request, it highlights the content when it has finished loading, and then it shifts the focus to the new element. Here is the final code. Check the comments (// example) to see what is going on.

$(document).ready(function(){

  // this is the container we'll load content into
  var container = $('#target');

  // adding a tabIndex of -1 makes it keyboard accessible,
  // and we can set the focus to it
  container.attr('tabIndex','-1');

  // if a user clicks on an element with the class ajaxtrigger...
  $('.ajaxtrigger').click(function(){

    // define trigger as the link
    var trigger = $(this);

    // read its href attribute (which is the URI we'll load with AJAX)
    var url = trigger.attr('href');

    // if the element does not have a class called "loaded"
    if(!trigger.hasClass('loaded')){

      // add a new span to the element.
      trigger.append('<span></span>');

      // add a class called 'loaded' to the element
      trigger.addClass('loaded');

      // and define msg as the last span in the element
      var msg = trigger.find('span::last');

    // otherwise, simply define msg as the last span in the element
    } else {
      var msg = trigger.find('span::last');
    }
    // ^ this condition means we only add the span once and not
    //   every time users click the element.

    // call the doAjax function with the URI to load,
    // the span inside the link to change and the
    // target element to replace.
    doAjax(url,msg,container);

    // tell the browser to not follow the link
    return false;
  });

  // here's where the AJAX magic happens
  function doAjax(url,msg,container){

    // if the URI starts with http...
    if(url.match('^http')){
      // show an error and set the class of the span to 'error'
      msg.html(' (error!)').addClass('error');

      // tell the end user in the target element what the error is
      var errormsg = 'AJAX cannot load external content';

      // update the container with the error
      updateContainer(errormsg,'#c00');

    // if the URI does not start with http
    } else {

      // start an AJAX request using the url
      $.ajax({
        url: url,

        // give the request five seconds time, otherwise call it
        // a timeout error
        timeout:5000,

        // if all went well
        success: function(data){

          // set the span content to ready
          msg.html(' (ready.)');

          // update the container with the right data
          updateContainer(data,'#ff9');
        },

        // if there was an error
        error: function(req,error){

          // say in the link that there was an error and set the
          // class of the span to 'error'
          msg.html(' (error!)').addClass('error');

          // if the error just says error, get the real status
          // text from the browser (jQuery doesn't do this right)
          if(error === 'error'){error = req.statusText;}

          // tell the user that there is a communication error
          var errormsg = 'There was a communication error: '+error;

          // update the container with the error
          updateContainer(errormsg,'#c00');
        },

        // if the link was clicked but the AJAX request was not fired...
        beforeSend: function(data){

          // remove any "error" classes and set the span message to loading
          msg.removeClass('error').html(' (loading...)');
        }
      });
    }
  };

  // update the container
  function updateContainer(content,colour){
    container.
      // set the content
      html(content).
        // shift the browser focus
        focus().
          // flash the container for a second in the
          // specified colour
          effect('highlight',{color:colour},1000);
  }

});

The code is a bit longer than in that our other examples, but the payoff makes it very much worthwhile.

Important Feature #3: De-Clutter Your Interface

With a library such as jQuery, you can make anything on the page interactive and make it initiate AJAX requests. You could use roll-overs or drag-and-drop interfaces, and these are great to look at, but ask yourself: are they really intuitive? Browsers do not yet have any drag-and-drop functionality or even roll-overs. Roll over your menu bar; you have to click to initiate any action.

But by using JavaScript tricks, you can make any element keyboard accessible. And if you build widgets, go even further by following the rules of keyboard navigation. You could even create a screen reader-compatible drag-and-drop interface. But again, ask yourself a few questions:

  • Is it worth the hassle?
  • Does it really make the interface easier to understand?
  • Does it make it more natural to use?
  • Does it help all users reach their goal faster, or have you implemented the feature just because it looks cool?

Making the interface as simple as possible does not mean neutering your creativity. On the contrary, the easiest and simplest interfaces are the ones that have gone through a lot of research and design iterations. Great usability means not recognizing that something has been done to make the interface easy.

What Not To Use AJAX For

Never rely on AJAX to handle sensitive information, because modern debugging tools allow anyone to see what is happening on the page. Using the Firebug extension, I can get all of the information about the HTTP traffic of a certain document, including the AJAX requests:

Firebug in Developing Sites With AJAX: Design Challenges and Common Issues

By analyzing these requests, I could glean information that you wouldn’t want to show the world; for example, the endpoints of the services on your system (such as mail scripts), which I could exploit for my own purposes.

Nothing in your JavaScript or HTML is secure. I can change it on the fly and work around your protection mechanisms.

If you are not building a Web application but are merely offering articles for people to read or a catalogue to flip through, you probably shouldn’t go the AJAX route anyway.

The other thing to consider is search engines. If you load all of your content with AJAX, you aren’t offering much in your documents for search engines to index. Static HTML content is still best for search engine indexing—as well as performance, because pages can be packed and cached nicely on your server, if you do it right. Loading via AJAX brings up the content much faster for users and saves on bandwidth, but you will see less traffic from search engines. Something to consider.

The External Content Problem

One built-in security setting of AJAX is that you cannot load content on another server. This is critical, otherwise people would be able to call and inject whatever script they please from the Web. Definitely a bad idea.

You may sometimes need, though, to retrieve third-party content; i.e. load external content in your document as data (because you can always use iFrames to embed other documents). This is where we have to get clever with the technologies at our disposal.

The most common workaround for AJAX not being able to load something like http://icant.co.uk/index.php is to write a server-side script that loads the page and then prints it out. This is called a proxy, and you can see an example of the solution here.

Of utmost importance when using a proxy is to whitelist the URIs that you want to load. Do not simply load any URI off the Web, or else attackers would be able to read files from your server and use your server to send out spam and attack other servers, making it look as though you were the perpetrator.

Other ways to retrieve external content is by getting data in a special format called JSON-P or by using a hosted proxy service such as YQL. I’ll keep this brief because there are several solutions to this problem. If you are interested in learning more, check out this blog post on the subject.

What To Use AJAX For

When used wisely, AJAX makes our life on the Web easier. If you’re wondering when and how to use it, check out the examples in the Design Pattern Gallery, which are based on real user research. For starters, think about these use cases:

  • Adding a large attachment to a message. /> Nothing is more annoying than waiting for your browser to upload something without having a clue how fast and how far along it is. Browser progress bars give us a hint but no real numbers. The Yahoo User Interface uploader, as well as jQuery implementations such as Uploadify, show how that would look like in the browser.
  • Handling a lot of small data sets. /> A great example of this is the comments section in WordPress. Rather than having to click a lot of checkboxes or reload the page every time I want to delete or approve comments, all I do is click a few links.
  • Rating content. /> No need to reload the entire page if you just want a simple Yay or Nay from the user in response to a question.
  • Displaying constantly changing content. /> For example, financial tickers or instant updates from Twitter and Facebook.
  • Add your own use here.

I hope you’ve gained a few more insights into what AJAX is and how you can use it to improve the user experience in a way that is safe and doesn’t leave certain segments of users out in the cold. AJAX makes stuff smoother, but nothing is more annoying than a supposed enhancement spoiling the whole experience.

(al)

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© Christian Heilmann for Smashing Magazine, 2010. | Permalink | 52 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Photoshop Keyboard Shortcuts Cheat Sheet (PDF)

fevereiro 11th, 2010
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Smashing-magazine-advertisement in Photoshop Keyboard Shortcuts Cheat Sheet (PDF) />  in Photoshop Keyboard Shortcuts Cheat Sheet (PDF)  in Photoshop Keyboard Shortcuts Cheat Sheet (PDF)  in Photoshop Keyboard Shortcuts Cheat Sheet (PDF)

Over the last months we released a variety of icon sets, tools and templates, but now we would like to release something a bit different for a change. In this post we are glad to release Photoshop Keyboard Shortcuts, a PDF-file with a handy overview of most useful keyboard shortcuts available in Adobe Photoshop. The cheat sheet was created by Kenneth Setzer and released especially for Smashing Magazine and its readers.

Shortcuts1 in Photoshop Keyboard Shortcuts Cheat Sheet (PDF)

The cheat sheet is a mousepad-sized image featuring a typical PC keyboard. Photoshop’s keyboard shortcuts are listed for each key, with the shortcut and its icon printed on the individual key. In red is the shortcut you will get by hitting the key in combination with the Ctrl key. For example, typing "t" in Photoshop will activate the Type tool, while typing Ctrl+t will allow you to use the Transformation tool. Additional shortcuts requiring more than two keys are listed as well.

Shortcuts2 in Photoshop Keyboard Shortcuts Cheat Sheet (PDF)

Download the cheat shee for free!

Of course, you can use the PDF for all of your projects for free and without any restrictions. The PDF may not be resold, sublicensed, rented, transferred or otherwise made available for use. Please link to this article if you want to spread the word.

Psmousepadfull in Photoshop Keyboard Shortcuts Cheat Sheet (PDF)

Applying Mathematics To Web Design

fevereiro 11th, 2010
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Smashing-magazine-advertisement in Applying Mathematics To Web Design />  in Applying Mathematics To Web Design  in Applying Mathematics To Web Design  in Applying Mathematics To Web Design

“Mathematics is beautiful.” This may sound absurd to people who wince at numbers and equations. But some of the most beautiful things in nature and our universe exhibit mathematical properties, from the smallest seashell to the biggest whirlpool galaxies. In fact, one of the greatest ancient philosophers, Aristotle, said: “The mathematical sciences particularly exhibit order, symmetry and limitation; and these are the greatest forms of the beautiful.”

Because of its beautiful nature, mathematics has been a part of art and architectural design for ages. But it has not been exploited much for website design. This is probably because many of us regard mathematics as being antithetical to creativity. On the contrary, mathematics can be a tool to produce creative designs. That said, you don’t have to rely on math for every design. The point is that you should regard it as your friend, not a foe. For illustrative purposes, we created a couple of web designs that present mathematical principles discussed in this article. We are also giving away a couple of PSDs that you can use right away in your next design.

Layouts featured in this post were created specifically for the purpose of this article. During the design process we made sure that all of the designs shown in this article are essentially mathematical in nature; that is, they exhibit order, symmetry and limitation. We also have followed the Web design algorithm in this process — the designs have distinct themes, styles and elements. To keep things simple and clear, we tried to stick to minimalist designs and also preferred single-page layouts. Obviously, examples in this article are supposed to serve as a simple foundation for your designs and not as the finished designs.

[Offtopic: by the way, do you know the Smashing Network has its own Smashing Network RSS Feed? Only excerpts are displayed in the feed.]

Golden Ratio and Golden Rectangle

The golden ratio, also known as the divine proportion, is an irrational mathematical constant with a value of approximately 1.618033987. If the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one, then the quantities are said to have a golden ratio.

Gr01 in Applying Mathematics To Web Design

Gr02 in Applying Mathematics To Web Design

We already published a very detailed article “Applying Divine Proportion To Web Design” that explains how to use the golden ratio in Web design. In today’s article, we’ll look at how to use golden rectangles in Web design. A golden rectangle is one whose side lengths have the golden ratio 1:(one-to-phi); that is, 1:1.618.

The construction of a golden rectangle is very easy and straightforward. First, construct a simple square. Then draw a line from the midpoint of one side of the square to an opposite corner and use that line as the radius to draw an arc that defines the height of the rectangle. Finally, complete the golden rectangle and you are done.

Rectangle in Applying Mathematics To Web Design />A method to construct a golden rectangle. The square is outlined in red. The resulting dimensions are in the ratio 1:Phi, the golden ratio.

As an example, consider the minimalist design below. It has six golden rectangles in it, three rectangles per line. The rectangles have the dimensions of 299 x 185 pixels. Thus, the sides of these rectangles adhere approximately to the golden ratio; that is, 299/185 = 1.616. Notice how the large amount of white space surrounding Golden rectangles creates a calm and simple atmosphere in which the navigation options can breathe and serve their purpose. Although the layout uses only few colors and all blocks are positioned very similarly, the navigation options are obvious.

Spacegeek Full in Applying Mathematics To Web Design />Large view

However, it may be quite difficult to add a new Golden block while keeping the consistency of the design. Probably the only reasonable design solution here would be to add the block on the third line and use the rest of the horizontal space for other, more or less prominent features (if necessary). You can click on the image below to see the enlarged version.

Spacegeek Rect05 in Applying Mathematics To Web Design />Large view

Possible Applications

The golden rectangle design is well suited for photo galleries, portfolios and product-oriented websites. The golden rectangles can also be arranged in other mathematically sound ways to generate beautiful designs. In particular, you may want to use them for blocks that display images or ads in your sidebar. Of course, the pure collection of golden rectangles doesn’t make for a professional, nice-looking design. You also need to work closely with grids, alignment, proximity and emphasis to achieve the main goals of your design. For instance, an interesting design solution would be a CSS/jQuery-based fluid grid design based on golden rectangles, however we do not cover this technique in this article.

Download the PSD-layout

We prepared a sample PSD layout that is designed according to the Golden Ratio and Golden Rectangle. Please feel free to use it in any way and please send the link to this article to your colleagues if you want to spread the word.

Fibonacci Design

As the name says, Fibonacci designs are designs based on the Fibonacci sequence of numbers. By definition, the first two Fibonacci numbers are 0 and 1, and each remaining number is the sum of the previous two. Some sources omit the initial 0, instead beginning the sequence with two 1s. So the first two Fibonacci numbers are given, and each remaining number is the sum of the previous two. The higher the Fibonacci sequence gets, the closer its numbers relate to each other according to the Golden Ratio. A Fibonacci sequence goes like this:

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144...

In music, Fibonacci numbers are sometimes used to determine tunings, and in visual art to determine the length or size of content and formal elements. Jürgen Schmidhuber his methodology for Fibonacci-based designs on his blog. However, if you examine the design he created, you are likely to find it rigid and a bit difficult to read and navigate. Indeed, you need to get a bit creative with math rather than following the rules blindly — maths gives us a guide that we can apply, however it’s rather about implementing sites with maths than implementing maths with our designs.

Fib in Applying Mathematics To Web Design />Approximate and true golden spirals. The green spiral is made from quarter-circles tangent to the interior of each square, while the red spiral is a Golden Spiral, a special type of logarithmic spiral. Overlapping portions appear yellow. The length of the side of one square divided by that of the next smaller square is the Golden ratio. Source

The main idea behind such designs is to use Fibonacci when deciding on the dimensions for content area or sidebar. Both Golden ratio and Fibonacci let designers rely on sound, common ratios for page containers or blocks within page containers.

In general, layouts are quite easy to build using the Fibonacci sequence. You pick a certain base width first — for instance, 90px. Then, when determining the size of your containers, you multiply the base width with the numbers from the Fibonacci series. Depending on the calculations you get, you need to use them for your page blocks. Let’s take a look at an example. Below is a minimalist typography blog based on Fibonacci Web design.

Fibonacci01 in Applying Mathematics To Web Design />Large view

You can see that the page is divided into three columns. Each column corresponds to a Fibonacci number. For this design, we used a base width of 90 pixels. This base width is then multiplied by a Fibonacci number to get the total width for a particular column. For example, the first column has a width of 180 pixels (90 x 2); the second column has a width of 270 pixels (90 x 3); and the third column has a width of 720 pixels (90 x 8). The font size also corresponds to a Fibonacci number. The blog heading has a size of 55px; the article’s heading is 34px; and the content is 21px.

Fibonacci02 in Applying Mathematics To Web Design

The downside of layouts based on the Fibonacci sequence is that it’s difficult to use it if you are given certain fixed width layout dimensions (e.g. 1000px). In this situation it’s easier to use the Golden ratio, as you would simply multiply 1000px with 0.618 and get 618px which would be the ideal width for your content block. However, if you try to achieve the same result with the Fibonacci sequence itself, you first need to figure out the sequence to the 1000 range.

According to the Fibonacci sequence calculator, the sequence would be ...,610, 987, 1597.... Indeed, 987 is a good fit and you can start picking the widths for smaller blocks using the previous numbers in the sequence. But if your fixed width layout is smaller or lager, you would need to use some approximate values which would again result in pure guessing. The problem may also occur in liquid or elastic designs to some extent, but you have much more design freedom there.

Possible Applications

A Fibonacci design is best suited to blogs and magazine layouts. You can arrange the layout in different ways according to Fibonacci numbers. The article “Nombre d’or, suite de Fibonacci et autres grilles de mise en page pour le design web” (in French) explains in more depth the application of Fibonacci numbers to Web design. Again, notice that you need to be creative when using Fibonacci sequence in your designs, otherwise your designs will turn out to be too rigid and hence difficult to use and navigate.

Download the PSD-layout

We prepared a sample PSD layout that is designed according to the Fibonacci sequence. Please feel free to use it in any way and please send the link to this article to your colleagues if you want to spread the word.

Five Elements, Or Kundli Design

Another interesting layout technique comes from the Indian horoscopes which are also called Kundli. Basically, a Kundli is a very simple figure can be made in just three steps. Draw a square, and then cross the two diagonals. Join the mid-points on each side of the square to get the Kundli figure. You’ll notice four right-angle rhomboids in the figure. These are the basis for our Web design.

Kundlilayout in Applying Mathematics To Web Design

Kundlilayout02 in Applying Mathematics To Web Design

The design below, then, is based on the Kundli geometric layout. You’ll notice that the chakras in the design also have mathematical properties.

Fiveelements01 in Applying Mathematics To Web Design />Large view

This is a single-page layout. Clicking on an element reveals more information about it, as shown in the figure below. You could also include some simple jQuery animations or jQuery tooltips that would reveal more information on demand. A further step would be a sliding web page where animation is used to display different content blocks; you may also want to change the background images of the single content areas to make them a bit more distinctive.

Fiveelements02 in Applying Mathematics To Web Design

In the following figure, you can see that our design is just a simple three-column layout: a header, three columns and a footer. Not complex at all.

Fiveelements03 in Applying Mathematics To Web Design

Possible Applications

This design is best for displaying product information and portfolios. You can spice it up with JavaScript animation frameworks. For example, you can apply color transformations to the chakras by using Raphael library, or you can add freestyle animations using  jsAnim library. You can have a tree sprout when the user clicks on the Earth element, or you can show sea creatures swimming in the water element. The sky is the limit when it comes to animation using these JavaScript libraries.

Download the PSD-layout

We prepared a sample PSD layout that is designed according to the Kundli design. Please feel free to use it in any way and please send the link to this article to your colleagues if you want to spread the word.

Sine Wave Design

When it comes to mathmatics, you do not need to stick to well-known Golden Ratio or Fibonacci sequence. You can also experiment with formulas from physics, chemistry and other sciences by using more general formulas and values in your designs.

Sw01 in Applying Mathematics To Web Design

For instance, let’s consider the sine wave, or sinusoid, a mathematical function that describes a smooth repetitive oscillation. We used a simple sine wave pattern as the basis for a simple and original Web design and create a single-page layout. Of course, you can use the same approach for other designs such as graphics or infographics.

Sinewave01 in Applying Mathematics To Web Design />Large view

The layout is again very simple, consisting of a header, five columns and a footer. You can use a jQuery tooltip to make the design more interactive.

Sinewave02 in Applying Mathematics To Web Design

Possible Applications

This wave pattern occurs often in nature, including ocean waves, sound waves, and light waves. Also, a rough sinusoidal pattern can be seen in plotting average daily temperatures for each day of the year, although the graph may resemble an inverted cosine wave. You can also use it to display a timeline of events. It could even be developed to include horizontal navigation. You can make it more interactive with the jQuery highlighter plug-in, which highlights each element (i.e. DIV) so that the user can focus on the content.

Download the PSD-layout

We prepared a sample PSD layout that is designed according to the Sine Wave design. Please feel free to use it in any way and please send the link to this article to your colleagues if you want to spread the word.

Other Techniques

Rule of Thirds />This rule states that an image should be imagined to be divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. It can also be expressed as a simplified mathematical approach that divides any layout into thirds, left to right and top to bottom.

Musical Logic />The rhythmic or thematic structure of musical compositions can be applied to distances between elements in a layout, like ABA, ABAC, etc. Learn more about music and mathematics in this Wikipedia article.

Useful Links and Resources

Wikipedia articles

Articles

Books

We hope you’ve enjoyed this article on mathematics and Web design. Hopefully you now see mathematics not as a hindrance to creativity, but as a friend. Embrace it!

(al)

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© Adit Gupta for Smashing Magazine, 2010. | Permalink | 105 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Color Theory for Designer, Part 3: Creating Your Own Color Palettes

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Smashing-magazine-advertisement in Color Theory for Designer, Part 3: Creating Your Own Color Palettes />  in Color Theory for Designer, Part 3: Creating Your Own Color Palettes  in Color Theory for Designer, Part 3: Creating Your Own Color Palettes  in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

In the previous two parts of this series on color theory, we talked mostly about the meanings behind colors and color terminology. While this information is important, I’m sure a lot of people were wondering when we were going to get into the nitty-gritty of actually creating some color schemes.

Well, that’s where Part 3 comes in. Here we’ll be talking about methods for creating your own color schemes, from scratch. We’ll cover the traditional color scheme patterns (monochrome, analogous, complementary, etc.) as well as how to create custom schemes that aren’t based strictly on any one pattern. By the end of this article, you’ll have the tools and skills to start creating beautiful color palettes for your own design projects. The best way to improve your skills is to practice, so why not set yourself a goal of creating a new color scheme every day.

[Offtopic: by the way, did you know that Smashing Magazine has one of the most influential and popular Twitter accounts? Join our discussions and get updates about useful tools and resources — follow us on Twitter.]

A Quick Review

Let’s start with a quick review of what was covered in parts 1 and 2. In part 1, we talked about how all colors have inherent meanings, which can vary depending on the country or culture. These meanings have a direct impact on the way your visitors perceive your site, even if it’s just subconsciously. The colors you choose can either work for or against the brand identity you’re trying to create.

Indiacolors in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

In part 2, we covered color terminology: hue (what color something is, like blue or red); chroma (how pure a color is, the lack of white, black or gray added to it); saturation (the strength or weakness of a color); value (how light or dark a color is); tone (created by adding gray to a pure hue); shade (created by adding black to a pure hue); and tint (created by adding white to a hue). These are important terms to know as we move forward and create our own color schemes.

Traditional Color Scheme Types

There are a number of predefined color scheme standards that make creating new schemes easier, especially for beginners. Below are the traditional schemes, with a few examples for each.

Colorwheel in Color Theory for Designer, Part 3: Creating Your Own Color Palettes />The basic, twelve-spoke color wheel is an important tool in creating color schemes.

Monochromatic

Monochromatic color schemes are made up of different tones, shades and tints within a specific hue. These are the simplest color schemes to create, as they’re all taken from the same hue, making it harder to create a jarring or ugly scheme (though both are still possible).

Examples:

Here are three examples of monochrome color schemes. For the most part with these schemes, the first color (if we look at this from left to right) would likely be used for headlines. The second color would be used for body text or possibly the background. The third color would likely be used for the background (or body text if color #2 was used as the background). And the last two colors would be used as accents or within graphics.

Monochrome-blue in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Monochrome-berry in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Monochrome-gold in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Analogous

Analogous color schemes are the next easiest to create. Analogous schemes are created by using three colors that are next to each other on the 12-spoke color wheel. Generally, analogous color schemes all have the same chroma level, but by using tones, shades and tints we can add interest to these schemes and adapt them to our needs for designing websites.

Examples:

Analogous-traditional in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

This is a traditional analogous color scheme, and while it’s visually appealing, there isn’t enough contrast between the colors for an effective website design.

Analogous-modified in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Here’s a color scheme with the same hues as the one above, but with the chroma adjusted to give more variety. It’s now much more suitable for use in a website.

Analogous-tradpink in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Another example of a traditional analogous scheme.

Analogous-modpink in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

And the above theme modified for use in a website design.

Complementary

Complementary schemes are created by combining colors from opposite sides of the color wheel. In their most basic form, these schemes consist of only two colors, but can easily be expanded using tones, tints, and shades. A word of warning, though: using colors that are exact opposites with the same chroma and/or value right next to each other can be very jarring visually (they’ll appear to actually vibrate along their border in the most severe uses). This is best avoided (either by leaving white space between them or by adding another, transitional color between them).

Examples:

Comp-purplegreen in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

A wide range of tints, shades, and tones makes this a very versatile color scheme.

Comp-redgreen in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Another complementary color scheme with a wide range of chromas.

Comp-orangeblue in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Don’t forget that beige and brown are really tints and shades of orange.

Split Complementary

Split complementary schemes are almost as easy as the complementary scheme. In this scheme, instead of using colors that are opposites, you use colors on either side of the hue opposite your base hue.

Examples:

Split-yellowgreen in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

A scheme where yellow-green is the base hue. It’s important to have enough difference in chroma and value between the colors you select for this type of scheme.

Split-red in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Another palette with a wide range of chromas.

Triadic

Triadic schemes are made up of hues equally spaced around the 12-spoke color wheel. This is one of the more diverse color schemes.

Examples:

Triad-berry in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Using a very pale or dark version of one color in the triad, along with two shades/tones/tints of the other two colors makes the single color almost work as a neutral within the scheme.

Triad-red in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Alternately, using one very bright hue with paired muted hues makes the single bright hue stand out more.

Double-Complementary (Tetradic)

Tetradic color schemes are probably the most difficult schemes to pull off effectively.

Examples:

Tetradic-red in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

A rather unimpressive tetradic color scheme. The best way to use a scheme like this is to use one color as the primary color in a design and the others just as accents.

Tetradic-pastel in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Tetradic color schemes can work well for creating color schemes with similar chromas and values. Just add a neutral (such as dark gray or black) for text and accents.

Tetradic-dark in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

It works just as well for darker color schemes.

Custom

Custom color schemes are the hardest to create. Instead of following the predefined color schemes discussed above, a custom scheme isn’t based on any formal rules. Keep in mind things like chroma, value, and saturation when creating these kinds of color schemes.

Examples:

Industrygiant in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

The colors here all have similar chroma and saturation levels.

Palisadespark in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Again, using colors with similar chroma and saturation is effective and creates a sense of cohesion across a color scheme.

50schristmas in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Using one color with a high chroma among other colors with lower chromas is another effective method (the higher chroma color can act as an accent).

Creating a Color Scheme

Creating your own color schemes can be a bit intimidating. But it’s not as complicated as many people think. And there are quite a few tricks you can employ to create great color palettes right from the start.

Danceofcolors in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

We’ve been over the different types of color schemes above. Now, let’s try creating a few of our own. There are plenty of tools online that will help you create a color scheme, but let’s forget about those for now and just use Photoshop.

Lets try breaking away from the color scheme types already mentioned, and create some custom schemes. While it’s important to know the ways that different colors interact and how traditional schemes are created, for most design projects you’ll likely create custom schemes that don’t strictly adhere to any predefined patterns.

So, for the purposes of our project here, we’ll create three color schemes each for two different websites. Our hypothetical clients are a modern architecture design blog and a high-end women’s clothing retailer who specializes in Victorian-influenced apparel.

We’ll start with a basic monochromatic scheme, just to get a feel for each. While I mentioned that traditional color scheme patterns aren’t used as often in design, monochomatic color schemes are the exception to that rule. You’ll likely find yourself using monochromatic schemes on a fairly regular basis.

Apparel-mono in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

For our apparel store, here’s a traditional monochromatic scheme, with white added in as a neutral.

Design-mono in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

For our design blog, we’ve gone with a color scheme made up of shades and tints of gray.

Apparel-one in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

This is almost an analogous color scheme, but we’ve left out one color. It’s made up of shades of purple and reddish-purple. These two colors fall next to each other on the color wheel, and work well together, especially when they’re used in different values and saturation levels.

Design-one in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Adding a couple shades of red to the gray color scheme adds a lot of visual interest and the potential for creating extra emphasis on certain parts within your designs.

Apparel-two in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Here, we’ve gotten rid of the purple hues and switched over to a burgundy. Again this is next to the reddish-purple on the color wheel. We’ve also added in a very pale yellow tone, which sits opposite purple on the color wheel. This serves as our neutral, and looks more like an off-white color when compared to our other hues.

Design-two in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

While this color scheme at first glance looks like another standard gray and red palette, if you look more closely you’ll see that the grays are actually tones of blue. Blue and red make up two thirds of a tetradic color scheme, but work just fine together without yellow, especially when the red is kept pure but the blue is toned down to the point of almost being gray.

Why Shades, Tones, and Tints Are Important

As you can see from the color schemes above, using tints, tones, and shades in your color schemes is vital. Pure hues all have similar values and saturation levels. This leads to a color scheme that is both overwhelming and boring at the same time.

Colorblotchedpaper in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

When you mix in tones, shades, and tints, you expand the basic 12-spoke color wheel into an infinite number of colors for use in your designs. One of the simplest ways to create a professional looking color scheme is to take a few tones, tints, and shades of a given color (avoiding the pure hue), and then add in another pure hue (or close to pure) that’s at least three spaces away on the color wheel (part of a tetradic, triatic, or split-complementary color scheme) as an accent color. This adds visual interest to your color scheme while still retaining a sense of balance.

Adding in Some Neutrals

Neutrals are another important part of creating a color scheme. Gray, black, white, brown, tan, and off-white are generally considered neutral colors. Browns, tans, and off-whites tend to make color schemes feel warmer (as they’re really all just tones, shades, and tints of orange and yellow). Gray will take on a warm or cool impression depending on surrounding colors. Black and white can also look either warm or cool depending on the surrounding colors.

Neutralcolors in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Black and white are the easiest neutrals to add into just about any color scheme. To add a bit more visual interest, though, considering using a very light or very dark shade of gray in place of white or black.

Adding browns, tans, and off-white hues are a bit trickier, but with some practice you’ll find adding them gets easier. For browns, consider using a very dark, chocolate brown in place of black. A pale off-white can be used in place of white or light gray in many cases. And tan can be used in place of gray, as well (create a tone by adding some gray to make it even easier).

Using Photos for Color Schemes

One of my personal favorite ways to create a color scheme is to use a photograph. There are automated tools online that can do this automatically for you (Adobe Kuler is one of them, and my personal favorite), or you can do it in Photoshop yourself.

Using Adobe Kuler, you can either browse or search for photos on Flickr, or you can upload your own image. If you’re stumped for what colors you want to use in a website design, try searching for related words on Flickr. Sometimes this can result in finding color schemes that you might not have thought of on your own.

Let’s try this method out, both ways (using Kuler and Photoshop). Find a photo you like on Flickr, one that you think evokes the feeling of the design you want to create. I chose this one:

Poppy in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Here’s the original color scheme that Kuler gives us when using this image:

Poppy-kuler-original in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

One of the coolest features Kuler has for creating color schemes from images is their “Select a Mood” option. Included here are Colorful, Bright, Muted, Deep, and Dark. These are the schemes we get when using each of those moods with the same photo:

Poppy-kuler-colorful in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Colorful

Poppy-kuler-bright in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Bright

Poppy-kuler-muted in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Muted

Poppy-kuler-deep in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Deep

Poppy-kuler-dark in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Dark

Now, let’s create a color scheme in Photoshop using the same image. This is a bit less scientific than the way Kuler does it. I usually just pick a color with the eyedropper tool, and then keep clicking on different spots in the image until I find other colors that go with it. Here are the results (this took less than five minutes to do in Photoshop, so it’s not as time-intensive as it sounds):

Poppy-photoshop in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Creating color schemes from images in Photoshop is easiest with images that are relatively monochromatic to begin with. With more colorful images, it gets trickier.

Let’s try another one, something more colorful this time. Here’s the original image we’ll work with:

Sari in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

And here are the five color schemes that Kuler gives us from this image:

Sari-kuler-colorful in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Colorful

Sari-kuler-bright in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Bright

Sari-kuler-muted in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Muted

Sari-kuler-deep in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Deep

Sari-kuler-dark in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Dark

And here’s what I came up with in Photoshop using the same image:

Sari-photoshop in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

As you can see, the Photoshop version I came up with is completely different than what Kuler came up with, but all of the schemes above are visually appealing. The Photoshop version here took a bit longer than the one above, partly because of the diversity of colors present in the image.

The Easiest Color Schemes

We’ve touched on this a bit before, but adding a bright accent color into an otherwise-neutral palette is one of the easiest color schemes to create. It’s also one of the most striking, visually. If you’re unsure of your skills in regard to creating custom schemes, try starting out with these types of palettes.

Here are a few examples to give you an idea of what I’m talking about:

Easiest-red in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Easiest-chartreuse in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Easiest-pink in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Easiest-lightblue in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Easiest-blue in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

You can see here how using browns instead of grays makes the entire scheme look warmer, even with the blue accent color.

You can use tones of any color instead of gray or brown in this type of scheme, just keep it very close to the gray end of the spectrum for the most fool-proof results. As a general rule, cool grays and pure grays are best for more modern designs. For traditional designs, warmer grays and browns often work better.

How Many Colors?

You’ll notice that throughout this post we’ve used color schemes with five separate colors. Five is a good number that gives plenty of options for illustrating the concepts here, and it’s a workable number in a design. But feel free to have more or fewer colors in your own schemes.

Coloredpencils in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

A lot of websites might only use three colors in their designs. Others use only two. And some might use eight or ten (which is a lot trickier than using fewer colors). Experiment and use as many or as few colors as you need to for your design. But you may want to start with a palette of five colors, and then add or subtract as you see fit and as you progress through the design process.

The easiest way to add a color is to start with one of the predefined, traditional color schemes and then work out from there. That at least gives you a bit of direction as far as which other colors to consider.

10 Sites With Great Color Schemes

To give you more inspiration, here are ten websites that have excellent color schemes. Some of the schemes below might look a bit odd at first glance but seeing how they’re actually used shows the wide range of possibilities color schemes can present.

Wentings Cycle & Mountain Shop

Wentings in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Wentings-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Trivuong.com

Trivuong in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Trivuong-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Oscar Barber

Oscarbarber in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Oscarbarber-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

North East Peace III Partnership

Northeastpeace in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Northeastpeace-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

mbA Architects

Mbaarchitects in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Mbaarchitects-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Studio 13

Studio13 in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Studio13-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Joy Project

Joyproject in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Joyproject-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Morphix Blog

Morphixblog in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Morphixblog-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

El Designo

Eldesigno in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Eldesigno-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

LemonStand

Lemonstand in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Scheme:

Lemonstand-scheme in Color Theory for Designer, Part 3: Creating Your Own Color Palettes

Conclusion

We’ve really only just touched on color theory in this series. There are specialists out there who have literally spent years refining their ability to choose colors that are appropriate to any situation.

The best way to learn to create beautiful color schemes is to practice. Create a scheme on a daily basis. You can use automated tools to do this at first (like Kuler’s tool for creating schemes from images), or just open up Photoshop and start. If you see a particularly beautiful or striking color in your daily life, try creating a scheme around it. And take advantage of all the sites out there that let you upload your color schemes and organize them for later reference. This makes all those color schemes more practical and easier to use in the future.

Further Resources

Here are some additional resources that should help you in creating your own color schemes, as well as some links with more information about traditional color schemes.

  • 10 Super Useful Tools for Choosing the Right Color Palette />A round-up from Web Design Ledger that covers ten great tools for finding and creating color palettes.
  • 100 Random Colors 2.0 />This page will load 100 random colors, with hex codes. It’s a great place to check if you’re looking for color inspiration.
  • Classic Color Schemes />This article from Color Wheel Pro covers all the traditional color schemes in detail, with examples.
  • ColorMunki />Another color scheming tool. Their library colors tab is particularly useful for finding and creating monochromatic color schemes.
  • ColorSchemer />A color scheme gallery and tool with a free online version.
  • ColourLovers />A community for color and design that includes a huge gallery of color palettes, search functionality as well as tools to create your own color palettes.
/>

© Cameron Chapman for Smashing Magazine, 2010. | Permalink | 48 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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SimpleFolio: A Free Clean Portfolio WordPress Theme

fevereiro 11th, 2010
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Today we are glad to release a beautiful, simple and clean portfolio WordPress theme — SimpleFolio, designed by Omar E. Corrales and released for Smashing Magazine and its readers. SimpleFolio is a portfolio theme that includes a blog and a very extensive option page that allows you to exclude all your portfolio items from the blog page. It also includes a front page slider.

It has 2 different widget areas and threaded comments, and also supports paged comments and has 2 different page templates for advanced usage. The control of images is done from the post page.

Release in SimpleFolio: A Free Clean Portfolio WordPress Theme

Download the theme for free!

The theme is released under GPL. You can use it for all your projects for free and without any restrictions. You may modify the theme as you wish. Please link to this article if you want to spread the word.

Preview in SimpleFolio: A Free Clean Portfolio WordPress Theme

Features

Here are some of the features of the theme:

  • CSS-based layout,
  • 2 columns of fixed width,
  • widget-ready,
  • XHTML 1.0 Transitional valid,
  • multi-browser compatibility: tested on Firefox, Safari , IE7, IE8, Chrome,
  • easy to setup, theme options page.

Scr2 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Front page

Scr4 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Portfolio

Scr5 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Portfolio

Scr3 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Options page in back-end

Scr6 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Single post, main area

Scr7 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Single post, threaded comments

Scr8 in SimpleFolio: A Free Clean Portfolio WordPress Theme />Single post, sidebar

Behind the design

As always, here are some insights from the designer:

I created this theme after getting tired of all the fancy design themes that are very popular now a days, this is a design for people that just need the job done without complicating them selfs. The best use can be either for just someone thats starting to blog or some artist that needs to expose there art.

Thank you, Omar. We appreciate your work and your good intentions!

/>

© Elja Friedman for Smashing Magazine, 2010. | Permalink | 102 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

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Smashing-magazine-advertisement in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials />  in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials  in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials  in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

When you hear the word “creative”, what type of profession comes to mind? Maybe a graphic designer, painter, sculptor, illustrator, or writer? It’s unlikely that you would consider a “programmer” when thinking of creative fields of work. But programmers have the potential to be creative and come up with ideas or concepts that will impact others in positive ways.

We often turn to programmers to solve mathematical-related problems, but the concept of mathematics in programming is what powers programmers to innovate. When you think of mathematics you imagine numbers, expressions, and equations. But what about art, music, or even beautiful visuals? Those numbers and equations that we often view as mundane and overly-formulaic can generate beautiful visuals and music. This article will present dozens of examples of motion graphics and interactive visuals created with computational code, along with some useful references and resources.

[Offtopic: by the way, did you know that Smashing Magazine has one of the most influential and popular Twitter accounts? Join our discussions and get updates about useful tools and resources — follow us on Twitter.]

Beautiful Motion Graphics Created with Programming

First we’ll look at some examples of beautiful and inspiring motion graphics created by programmers. Some of these are audio-reactive whereas others are data visualization.

Metamorphosis by Glenn Marshall

Ttl1 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Swan Lake – Zeno Music Visualiser by Glenn Marshall

Ttl29 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Black Hole by 360angles

Ttl26 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Flightpattern by Gwen Vanhee /> These beautiful motion graphics were created using ActionScript.

Ttl24 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Disco Maths 1 by Stefan Goodchild

Ttl23 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Magnetic Sphere by flight404

Ttl30 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Air Doom by Rui Madeira

Ttl25 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Audio Reactive Bubbles by Matthias Dörfelt.

Ttl27 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Visualization in 7/4 by Eamae Mirkin

Ttl28 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Music Is Math by Glenn Marshall

Tll21 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Audio-generated landscape by flight404

Ttl15 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

okdeluxe XMAS card 2008 by okdeluxe

Ttl21 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Solar, with lyrics. by flight404

Ttl20 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Bubbletrouble_2 by Leander Herzog

Ttl19 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

House of Cards by Radiohead /> In Radiohead’s video for “House of Cards”, no cameras or lights were used. Instead, 3D plotting technologies collected information about the shapes and relative distances of objects. The video (directed by James Frost) was created entirely with visualizations of that data.

Ttl14 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Magnetic Ink by flight404

Ttl18 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Shifty by Pedro Mari

Ttl10 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Advanced Beauty 13 of 18 by Universal Everything

Ttl9 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

I Am David Sparkle – Jaded Afghan by Eduardo Omine

Ttl8 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Relentless, The REV by flight404

Ttl7 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Aphex Twin – Rhubarb by Simon Geilfus

Ttl3 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Magnetosphere Revisited by flight404

Ttl6 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Vortex by Rui Madeira

Ttl11 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

The Nest That Sailed The Sky by Glenn Marshall

Ttl2 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

GoodMorning! by Jer Thorp

Ttl17 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Sunflower by VS*

Ttl13 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Interpol – Rest My Chemistry Video by Aaron Koblin

Ttl16 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Free Applications for Creating Visuals with Computational Code

Processing

Processing in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Processing is a popular and powerful application for generating visuals using programming. It’s free and open source and uses Java as its coding language. It’s been used in professional, educational, and scientific environments and is available for GNU/Linux, Mac OS X, and Windows. It can also be used for web by embedding as Java applets or through the use of Processing.js, which uses JavaScript to draw shapes and manipulate images using the HTML5 Canvas element. Processing is also available for Java-based mobiles (Mobile Processing).

  • Open Processing />Share your sketches online.
  • Useful Processing Applet Source Codes />A collection of free Java applet source codes.
  • Processing with Eclipse />If you are an avid Java programmer and have been using Eclipse for your daily routine this would be best way to use Processing, making your workspace comfortable and familiar. Another benefit that Eclipse adds is that you can harness the power of the latest Java IDE.

Quartz Composer

Qc in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Popular among Mac developers and VJs, Quartz Composer is the simplest application for creating still as well interactive motion graphics. It uses a node-based sequencing visual programming language that takes advantage of the Open GL, JavaScript, Core Image and Core Video devices and other technologies built into Mac OS X. It’s intended for non-programmers and is used by developers to construct user interfaces in conjunction with Cocao and other developer tools bundled in Xcode. It’s also used to create iTunes Music Visualizers.

Using third-party tools like Effect Builder AE and QC Integration FX you can turn your Quartz compositions into plug-ins for professional video editing / motion graphics applications such as Apple Final Cut, Adobe After Effects, Apple Motion, etc., without writing a single line of code. Many professional applications like Pixelmator use Quartz Composer on Mac to generate graphics and this is one of the reasons why some graphics processing application are available only for Mac OS X. As you probably guessed, Quartz Composer is only available for Mac OS X. Users of Mac OS X 10.6 or later can utilize OpenCL in Quartz Composers.

OpenFrameworks

Openframework in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

OpenFrameworks is a tool for creating interactive visuals, and is widely used among creative programmers. The user interface is simple and similar to that of Processing. Similar to Processing, it uses libraries, but it’s difficult to find third-party libraries and requires knowledge of C++ programming.

NodeBox

Nodebox in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

NodeBox is similar to Processing and OpenFrameworks with the only major difference being the programming language used, which is Python. Although NodeBox has a small number of libraries in comparison with Processing, they are of good quality. NodeBox supports PDF, QuickTime movies, fonts and uses the Mac OS X Core Image library for image manipulations (blend modes, color changes, filters etc). NodeBox is available only for Mac OS X.

VVVV

Vvvv in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

VVVV is usually used in large media environments like concerts and art installations for real-time motion graphics, video and audio processing and interactive motion graphics. Unlike Quartz Composer, VVVV comes with audio synthesis, 3D Mesh manipulation, and real-time video synthesis built in. It is a powerful application for generating visuals in real-time, even at very high resolution and high frame-rates.

Another important feature of VVVV is that it can make use of multiple computers behaving in sync. All programming and editing can be done on one server computer, while all client computers execute their respective tasks. You can easily use the CPU and GPU power of each computer to do some amazing effects at a cheaper cost. Since VVVV uses DirectX, it’s only available for Windows.

eMotion

Emotion in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

eMotion is a new free application which can generate real-time as well as offset graphics. It has an awesome text and particle engine which is driven by real-world physics. It is available only for Mac OS X.

Creating Interactive Visuals with Computational Code

Here are some examples demonstrating adding interactivity into visuals.

Sonic Camera by Dmtr.org

href="http://vimeo.com/41193">Ttl38 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Graffiti Analysis 2.0 by Evan Roth

Ttl34 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Amoeba Dance is built using Quartz Composer. Its not a pre-rendered visual but works totally in real-time mode, controlled using VDMX and is reactive to the audio input.

Ttl35 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

The Beauty of Fluid Dynamics by Jens Heinen /> Beautiful live interactive visual performances. Also watch Lichtfaktor vs Optix and Reincarnation.

Ttl31 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Interactive Projection at GAGA Gallery | Laser tag /> This project uses powerful lasers to virtually in-script graffiti on tall buildings. The laser is tracked and the graphics are projected in real time. Also check out the Eyewriter project which uses the same technology for helping physically disabled graffiti artists to once again bring their talent back to life. You can take a look at how-to and source code, too.

Laser Graffiti in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Digital Graffiti Wall + Stencils by Alex Beim /> Another similar version, also built with OpenFrameworks.

Ttl33 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Digital Wallpaper by Gregor Hofbauer /> Uses VVVV to generate graphics which are then projected and mapped to the wall.

Ttl32 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Body Navigation by Ole Kristensen /> Amazing example where interactive visuals are projected on to a wall. To add interactivity, everything is tracked using infrared light and cameras.

Ttl36 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Hand from Above by Chris O’Shea /> An amazing installation built with openFrameworks and openCV. Pedestrians are tickled, stretched, flicked or removed virtually in real-time.

Ttl37 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Quadrature by Griduo /> The walls of the building are virtually stretched, broken and reconstructed. A similar installation:

555 KUBIK

Ttl43 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Castel Dell’Ovo by Quy & N1ente /> A stunning audio-visual performance created by mapping an entire building in a virtual world.

Ttl40 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Body Paint by Memo Akten /> Beautiful interactive installation which allows performers to paint on a virtual canvas with their body, interpreting gestures and dance into evolving compositions.

Ttl41 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Lights on by thesystemis /> Created for the Ars Electronica museum, which has a facade that contains 1085 LED controllable windows. The window colors are changed in real time with music that is broadcast on speakers surrounding the building. Visuals are created using openFrameworks.

Ttl49 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Vinyl Workout by Theo Watson /> A giant record is projected on the floor and it can be played by running around its surface in the direction you want it to go. The speed of playing music is in sync with the speed of the moving person.

Tt37 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Funky Forest – Interactive Ecosystem by Theo Watson /> Funky Forest is an interactive installation for children. They can play with the water on floor, grow trees and water it and interact with various creatures. Built using openFrameworks. Also see these other amazing installations: Interactive Mural, Interactive Projection at GAGA Gallery, Guten Touch, Jellyfishes and Interactive Dancers System.

Ttl45 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Reverse Shadow Theatre by Gabor Papp /> Amazing example in which the code powers the real-time puppet animation. Uses multiple software – Processing, Eyesweb and Animata. Both Eyesweb and Animata are open source, as is Processing. Here Eyesweb handles the motion tracking while Animata takes in the input data from Eyesweb and does the real-time animation. Also watch Jazz Pub.

Tutorials

Ttl48 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

DIY 3D Scanner by Kyle McDonald /> Another great application of computational code.

Ttl50 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

DaVinci by Razorfish – Emerging Experiences /> Apart from producing amazing visual and real-time animations, computational code can give new meaning to human-computer interaction. If you like Microsoft Touch Screen Table then you are sure to like DaVinci. You can interact with a virtual world through a user interface that uses object recognition, real-world physics simulation, and gestural interface design.

Ttl59 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

London Digital Week by seeper /> Multi-touch music sequencer.

Ttl51 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Books for Reference

Programming Interactivity: A Designer’s Guide to Processing, Arduino, and Openframeworks by Joshua Noble and Noble Joshua

Book1 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Learning Processing: A Beginner’s Guide to Programming Images, Animation, and Interaction by Daniel Shiffman

Book2 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Processing: Creative Coding and Computational Art by Ira Greenberg

Book3 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Real-Time Motion Graphics with Quartz Composer: A Hands-On Guide to Learning Quartz Composer by Graham Robinson and Surya Buchwald

Book4 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Processing: A Programming Handbook for Visual Designers and Artists by Casey Reas and Ben Fry

Book5 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Algorithms for Visual Design Using the Processing Language by Kostas Terzidis

Book6 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Visualizing Data by Ben Fry

Book8 in Beautiful Motion Graphics Created With Programming: Showcase, Tools and Tutorials

Resources

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50 Free UI and Web Design Wireframing Kits, Resources and Source Files

fevereiro 11th, 2010
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Planning and communication are two key elements in the development of any successful website or application. And that is exactly what the wireframing process offers: a quick and simple method to plan the layout and a cost-effective, time-saving tool to easily communicate your ideas to others. A wireframe typically has the basic elements of a Web page: header, footer, sidebar, maybe even some generated content, which gives you, your clients and colleagues a simple visually oriented layout that illustrates what the structure of the website will be by the end of the project and that serves as the foundation for any future alterations.

This article focuses on actual wireframing tools and standalone applications, as well as resources that you’ll need to build your own wireframe: wireframing kits, browser windows, form elements, grids, Mac OS X elements, mobile elements, which you’ll use in any typical graphics editor such as Photoshop or Illustrator. …Or you could use pen and paper.

[By the way, did you know there is a brand new Smashing WordPress Book? Push WordPress past its limits!]

Complete Wireframing Toolkits

Quommunnication Stencil Kit />A PSD file with common design elements for sketching and wireframing: form elements, RSS feed icons, colors, Advertising units, browser windows and grids.

Wireframing01 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mac OS X Interface Stencil Kit />Leopardy interface stencil kit. This one makes extensive use of tables, for maximum flexibility while maintaining pixel precision.

Macos2 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Facebook Applications Stencil Kit />A pretty sizable collection of Facebook related elements to use in creating wireframes for Facebook applications.

Facebook in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Flex Stencil Kit />Includes all Flex components from Flex 3 Style Guide: panels, data grid, buttons, fields, links, toggle, menu, scrolls, accordion, tabs, list, data picker, tool tip, errors.

Flex in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Eclipse Stencil Kit />This stencil enables you to easily prototype Eclipse (wizard) dialogs with OmniGraffle(TM).

Eclipse in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Massive Web UI & Button Set />This set contains UI elements in three distinct styles: glossy, satin/light gradient, and one-color. The satin/light gradient set is available in 7 different colors (which you’ll find all of in the PSD file). Available are control buttons including arrows and basic symbols, info and text boxes, breadcrubs, buttons, and other navigation elements, drop-down and collapsible box styles, speech bubbles, search forms and loading elements.

Web-ui-set-preview1 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Yahoo! Design Stencils – Design Pattern Library />You would be hard pressed to find a better wireframing resource than this one. The Yahoo! Design Stencil Kit is available for almost every application: OmniGraffle, Visio (XML), Adobe Illustrator (PDF and SVG) and Adobe Photoshop. This huge library covers the following elements (basically, everything): ad units, calendars, carousels, charts and tables, UI controls, form elements, grids, menus and buttons, mobile (general), mobile (iPhone), navigation and pagination, OS elements, placeholder text, screen resolutions, tabs, windows and containers.

Wireframeresource48 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Free Sketching & Wireframing Kit />The Sketching & Wireframing Kit is a free set of elements for sketching and wireframing. It consists of form elements, icons, indicators, feedback messages, tool tips, navigation elements, image placeholders, embedded videos, sliders and common ad banners. The Kit comes in two vector formats, one for Adobe Illustrator and the other in SVG, which can be easily modified. It can also be downloaded in PDF and EPS formats.

Wireframeresource52 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

EightShapes Unify />EightShapes Unify is a collection of templates, libraries and other assets that enable user experience designers to create more consistent and effective deliverables faster. The system uses the Adobe Creative Suite of products; Adobe InDesign is the primary authoring tool.

Wireframeresource57 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Wireframe Symbols />This download contains a wireframe symbol library and a full Adobe Illustrator file with all of the elements spread out on a board. To install the library just drag and drop the file named Wireframe Symbols.ai into your Adobe Illustrator “Symbols” directory. Once you open Illustrator, go to your Symbols Palette and load the library.

Wireframeresource49 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

OmniGraffle Wireframe Stencils />This is a set of shapes for making wireframes in OmniGraffle version 5.x (Mac OS X).

Wireframeresource50 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

OmniGraffle UX Template />This is an OmniGraffle Pro template for interface design that includes shared layers for basic UX document needs; e.g. title page, wireframes, storyboards.

Wireframeresource51 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web Page Elements />Using the open-source “Bitstream Vera” font set and free icons from FamFamFam, you should have most of your common web page elements covered, including headings, form elements, content management function, image placeholders, etc.

Webpage in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web Browser Templates

Photoshop Browser Templates – Web Designer Toolkit />These Photoshop browser templates come in 1024×768 and 800×600 pixel sizes and cover nearly all browsers (Firefox, IE, Safari, Camino, even Netscape). For both sizes, the safe viewing area is clearly marked in a separate layer.

Wireframeresourcea in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Browser Templates for the Website />These Photoshop browser templates for Internet Explorer, Firefox for Mac and Firefox for Windows have been mocked up in the following sizes: 800×600, 1024×768 and 1280×1024 pixels.

Wireframeresource1 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Photoshop Browser Templates />This layered PSD file contains three different browser resolutions; all with easily editable titles, address bars, scroll bars and favicons. Just open the PSD and place the layers on top of the design that you are working on, and voila!

Wireframeresource2 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Browser Screens and Website Elements />A useful set of vector website assets.

Wireframeresource3 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web-Safe Area Templates for Photoshop

All of the Web-safe area browser PSD templates listed below can be individually downloaded by choosing from the following resolutions: 640×480, 800×600, 1024×768, 1280×960 and 1600×1200 pixels.

Windows Vista IE Web-Safe Area

Wireframeresource4 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Windows Vista Firefox Web-Safe Area

Wireframeresource5 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Windows XP IE Web-Safe Area

Wireframeresource6 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mac OS X Safari Web-Safe Area

Wireframeresource7 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mac OS X Firefox Web-Safe Area

Wireframeresource8 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mac OS X Safari Web-Safe Area

Wireframeresource9 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web Form Elements

Best Practice UX Forms Stencil />This is a comprehensive release of the stencil kit which follows best practices in UX form design. It provides three different ways of laying forms out, each with their own benefits. This version also provides different button layouts, a progress indicator, captcha code input field, labels and more.

Uxform in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Photoshop Form Element Templates />These Photoshop files include screenshots of all the common form elements as displayed in your selected operating system (Mac Classic, Mac OS X, Win XP and Win Classic). The form elements are separated into individual layers so that you can easily select, adjust or switch them as you please.

Wireframeresource10 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Browser Form Elements PSD />Included in this PSD file are form elements for Mac Firefox 3 and another for Vista IE7.

Wireframeresource11 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web Form Elements Volume 1 />Volume 1 contains a selection of Web user interace elements for forms in Photoshop format.

Wireframeresource12 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web Form Elements Vol.2 />This is Volume 2 of the Web Form UI Elements mentioned above and has been designed in a different style.

Wireframeresource13 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Photoshop Button Templates />These Photoshop button templates have been separated into individual layers to be easily selectable. You can choose from the following colors: dark blue, light blue, dark green, light green, yellow, orange, red and purple.

Wireframeresource14 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Web Browser Elements

You can select the element you need from whichever operating system and browser you use, and download them individually.

Windows Vista IE Form Elements

Wireframeresource15 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Windows Vista Firefox Form Elements

Wireframeresource16 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Windows XP IE Form Elements

Wireframeresource17 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Windows XP Firefox Form Elements

Wireframeresource18 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mac OS X Firefox Form Elements

Wireframeresource19 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mac OS X Safari Form Elements

Wireframeresource20 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Grid Templates

960px Photoshop Grid Template />This template has a guide for a three-column 20-pixel gutter design, with layers of washed-out colors to visualize both columns for the purpose of the rule of thirds. Additionally, it is broken down into six columns of 20-pixel gutters.

Wireframeresource20a in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

960 Grid Template for OmniGraffle

Wireframeresource21 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Illustrator Template for Blueprint CSS Comps />This Adobe Illustrator document features a 24-column grid for CSS frameworks such as Blueprint. It consists of guides that comply with Blueprint’s grid of 24 columns of 30 pixels, 10-pixel-wide gutters and a horizontal width of 950 pixels. Horizontal guides are provided at 18 pixels or a 1.5 em line-height for a 12-pixel base font.

Wireframeresource22 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Photoshop Template for Blueprint CSS Comps />This Photoshop document features a 24-column grid for CSS frameworks such as Blueprint. It consists of guides that comply with Blueprint’s grid of 24 columns of 30 pixels, 10-pixel-wide gutters and a horizontal width of 950 pixels. Horizontal guides are provided at 18 pixels or a 1.5 em line-height for a 12-pixel base font.

Wireframeresource23 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mobile App Development Resources

iPad GUI PSD />The PSD was constructed using vectors, so it’s fully editable and scalable. You’ll notice there are a few new UI elements as compared to the iPhone interface. The workable screen design is formatted to 768×1024 so anything you design in the Photoshop file can easily be brought over to the SDK.

Ipadgui in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Ultimate iPhone Stencil – Graffletopia />This Omnigraffe iPhone stencil kit contains backgrounds, title bars, buttons, selectors and all other iPhone UI elements. It can be easily resized horizontally by ungrouping, resizing the middle element and then regrouping the elements back into a single button.

Wireframeresource24 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone 3G Stencil />Includes standard interface components for the iPhone 3G: buttons, fields, map elements, keyboards, icons. All components are on a transparent background and should re-size nicely.

Iphone3g in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone GUI PSD 3.0 />With Apple’s official release of the new iPhone 3.0 came a number of new GUI elements. Some of the changes and additions have been include in this GUI: map and map elements including curl, copy and paste elements; timeline bar editor; and horizontal iPhone and horizontal panel bars and keyboards.

Wireframeresource25 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone PSD Vector Kit />This iPhone starter kit comes with several button elements as well as six different iPhone interface options.

Wireframeresource26 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone GUI Elements />Free iPhone elements available as layered Photoshop (PSD) files.

Iphone in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone GUI as Rich Symbols for Fireworks />This iPhone kit has been designed using Adobe Fireworks. It has several combinations, buttons, backgrounds, etc. It also has some lines of code to transform the simple vector symbols into rich symbols, with some variables.

Wireframeresource27 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Google Android GUI Application Mockup PSD />This Photoshop file contains all of the basic elements of Android 1.5, Google’s mobile operating system.

Wireframeresource28 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Palm Pre GUI PSD />This Palm Pre GUI PSD has been built with vectors for easy editing and scaling, and it contains most of the Pre’s GUI elements.

Wireframeresource29 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

RIM Blackberry PSD />This download package contains 135 detailed layers for Blackberry app development.

Wireframeresource30 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Optional Wireframe Extras

Interactive Sketch Notation />The general idea behind this notation is the desire to visualize user interface states as well as user actions in a clear and rapid manner.

Linowski in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Storyboard Characters (via Google Chrome)

Storyboard in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Proofreading Marks

Wireframeresource31 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Standard Web Banners />You can download these standard Web banners or ads individually (468×60 pixels, 768×60, 125×125, etc.). There are also templates for common but non-standard banner sizes (120×30, 230×33, 728×210, etc.).

Wireframeresource32 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Wireframe Icons, Royalty-Free EPS and PNG />The icon set includes EPS and PNG versions of the original Konigi Wireframe Icon Set and are suitable for use in vector drawing applications such as Adobe Illustrator as well as in Microsoft Visio.

Wireframeresource33 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

WEB UI Treasure Chest />This PSD layered file, most of whose files are fully editable, contains more than 100 elements for website design.

Wireframeresource34 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Webdesigner kit />This Photoshop download contains registration fields, menus, checkboxes, radio buttons and cursors.

Wireframeresource35 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Printable Sketching Paper

A4 and A3 Sketching Grid Paper />This downloadable and printable 960-pixel-wide grid makes it easy to create a three-column (320 pixel), four-column (240 pixel), five-0column (192 pixel) or six-column (160 pixel) grid on a single sheet of paper. You have two sizes to choose from, A4 and A3.

Wireframeresource36 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Print and Sketch Wireframe Template

Wireframeresource37 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone Application Sketch Template />The grid squares for this sketching paper are equal to 10 pixels. The tick marks indicate the height of the status bar, nav bar, keyboard, tab bar and toolbar. For best results, print on A4 borderless paper.

Wireframeresource38 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone Wireframe Templates for Sketching />Two layouts are available, both in PDF and Visio (VSD) formats for quick iPhone mockups.

Wireframeresource39 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

iPhone App Wireframe Template />Two versions are available, one in landscape and the other in portrait. Each version includes three pages: page 1 has a vertical screen and notes column; page 2 has a horizontal screen and notes column; page 3 has a three-screen layout that is great for drafting designs.

Wireframeresource40 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Printable Wireframe and Notes

The below 8.5 x 11-inch graph paper is made for visual designers, interaction designers and information architects. You’ll find styles for wireframing user interfaces, storyboarding interaction and plotting values on a 2×2 grid. Plus, you’ll get a basic grid for drafting site maps or anything else that comes up. Choose from the following:

Wireframe with Notes />This wireframe grid is divided into 24 columns, with gutters between each column. The grid is especially useful for designers who work within a CSS framework such as Blueprint.

Wireframeresource42 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Wireframe (Landscape)

Wireframeresource43 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Wireframe (Portrait)

Wireframeresource44 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Storyboard />This is a storyboard with four cells. Each cell contains a simple grid.

Wireframeresource45 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Storyboard with Notes />This is a storyboard with four cells. Each cell contains a simple grid. The area beneath each cell is ruled for notes.

Wireframeresource46 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Basic Paper />This is a basic grid box. Use it for concept diagrams, site maps, spectrums, tables and whatever else you sketch.

Wireframeresource47 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Wireframe Magnets (DIY Kit)

These DIY magnet template are based on the Konigi wireframe stencils and includes three sheets of elements that would be useful for whiteboard prototyping. Simply download and print the PDFs onto magnet sheets, and cut them out.

Form Elements

Wireframeresourceb in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Tabs, Buttons and Bars

Wireframeresourcec in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Windows and Dialogs

Wireframeresourced in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Further Resources And Some Wireframing Inspiration

web.without.words />A visual playground where designers take popular sites and reconstruct them in a wireframe.

Ebay in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Graffletopia />Graffletopia is a huge resource of free stencils for OmniGraffle (Mac-only, sadly). With OmniGraffle, you can quickly create high-quality wireframes, flowcharts and other diagrams.

Wireframeresource53 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Mockups To Go />Mockups To Go is a user-contributed collection of ready-to-use UI components and design patterns that were built using Balsamiq Mockups. You can download all of the components and design patterns to use in your mockups.

Wireframeresource54 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

Wireframes Magazine />Wireframes Magazine is dedicated to all things wireframing and prototyping. It has a huge library of downloadable templates, samples and UI tools, and even a section for inspiration.

Wireframeresource55 in 50 Free UI and Web Design Wireframing Kits, Resources and Source Files

I {heart} wireframes />I {heart} wireframes is a great source of wireframing inspiration and resources. And yes, we all love wireframes!

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Paul Andrew is a freelance Web designer. He is chief admin for Speckyboy – Design Magazine, a Web design, Web development and graphic-design resource blog. Follow him on Twitter here: twitter.com/speckyboy.

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The Art And Science Of The Email Signature

fevereiro 11th, 2010
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Smashing-magazine-advertisement in The Art And Science Of The Email Signature />  in The Art And Science Of The Email Signature  in The Art And Science Of The Email Signature  in The Art And Science Of The Email Signature

Email signatures are so easy to do well, that it’s really a shame how often they’re done poorly. Many people want their signature to reflect their personality, provide pertinent information and more, but they can easily go overboard. Why are email signatures important? They may be boring and the last item on your list of things to get right, but they affect the tone of every email you write.

Email signatures contain alternative contact details, pertinent job titles and company names, which help the recipient get in touch when emails are not responded to. Sometimes, they give the recipient an idea of who wrote the email in case it has been a while since they have been in touch. They are also professional: like a letterhead, they show that you run a business (in some countries, you’re required to do so). Here are some tips on how to create a tasteful signature that works.

[Offtopic: By the way, did you know that Smashing Magazine has a mobile version? Try it out if you have an iPhone, Blackberry or another capable device.]

Be Concise

First and foremost, the sender’s header (the “From” field) should have a name, and you should use a company email address if you can. If someone sees stevies747@hotmail.com, they’ll suspect it’s spam. If the sender’s header reads, “Steve Stevenson – Mister Stevenson Design Company” <steve@misterstevenson.com>, they’ll know it’s a professional email from Steve, their trusted designer.

Start by making your website a link. Many email clients convert email addresses and websites into links automatically, but not always. When you’re creating the HTML for an email, make sure the link will appear by adding writing it in HTML. And instead of linking text like “My website,” type out the URL, which will be useful for those who want to copy and paste the address.

An email signature shouldn’t double the email’s length, so make it as short as possible (three lines is usually enough). Don’t get into your life story here. The purpose of a signature is to let them see who you are and how to get in touch with you.

Make Sure to Include…

  • Your name,
  • Your company and position,
  • How to get in touch with you.

No need to include 10 different ways to get in touch with you. As in website design, less is more; and then they’ll know which way you prefer to be contacted. Go to two or three lines, with a maximum of 72 character per line (many email applications have a maximum width of 80 characters, so limit the length to avoid unsightly wrapping). An optional fourth line could be your company address, but use caution if you work from home.

--
Steve Stevenson, Web Designer
www.misterstevenson.comsteve@misterstevenson.com

Short and Concise, but Check the Rules

In some European countries, laws dictate what items you must put in your email signature if you are a registered company. For example, UK law requires private and public limited companies to include the following:

  • Company number,
  • Address of registration,
  • VAT number, if there is one.

You can be fined for not including this information on all electronic correspondence and on your website and stationary. Many freelancers and small businesses have ignored these rules since their inception, risking a fine. For more information on UK rules, go here. Do some research to find out what rules apply in your country.

--
Steve Stevenson, Web Designer
www.misterstevenson.com | steve@misterstevenson.com
55 Main Street, London, UK, EC2A 1RE
Company number: 12345678

Don’t Include…

  • Personal Twitter, IM or Skype details;
  • Your home phone number or address (unless you want to be called by international clients early in the morning);
  • The URL of your personal website;
  • Random quotes at the bottom;
  • Your entire skill set, CV and lifetime achievements in point form.

Random quotes are fun for friends, but you risk offending business associates with whom you don’t have a personal relationship. Unless you want clients contacting you while you’re watching Lost, don’t share your home details far and wide. Also, don’t share your personal contact information with your corporate partners. They certainly won’t be interested in it, and you may not want them to know certain details about you. However, mentioning your corporate Twitter account or alternative means of contact in your signature might be useful, in case your correspondent is not able to get in touch with you by regular email.

border="0" width="610">
width="95">Duck Stand Md Wht in The Art And Science Of The Email Signature width="515">Steve Stevenson, Web Designer /> web: www.misterstevenson.com /> blog: blogspot.celebritiesneedhelp.com /> email: steve@misterstevenson.com home: 613.555.2654 /> home (wife): 613.555.3369 /> work: 613.555.9876 /> cell: 613.555.1234

55 Drury Lane /> Apartment 22 /> Ottawa, Ontario /> Canada /> /> twitter: @stevie_liverpool_fan /> skype: stevie_the_man /> messenger: stevie_mrstevenson /> /> I specialize in: /> Web design /> Graphic design /> Logo design /> Front-end development /> UI design /> /> “Flying may not be all plain sailing, but the fun of it is /> worth the price.” -Amelia Aerheart />

Don’t do this.

Images And Logos

Let’s get this out of the way now: your entire signature shouldn’t be an image. Sure, it will look exactly how you want, but it is completely impractical. Not only does an image increase the email’s file size, but it will likely be blocked before being opened. And how does someone copy information from an image?

All Image in The Art And Science Of The Email Signature
This signature is too big at 20 KB and impossible to copy.

Any images should be used with care and attention. If you do use one, make it small in both dimensions and size, and make it fit in aesthetically with the rest of the signature. 50 x 50 pixels should be plenty big for any logo. If you want to be taken seriously as a business person, do not make it an animated picture, dancing dog or shooting rainbow!

Most email clients store images as attachments or block them by default. So, if you present your signature as an image, your correspondents will have a hard time guessing when you’ve sent a genuine attachment.

The best way to include an image is to host it on a server somewhere and then use the absolute URL to insert the logo. For example, upload the logo to http://www.example.com/uploads/logo.gif. And then, in your email signature’s HTML, insert the image like so:

<img src="http://www.example.com/uploads/logo.gif" width="300" height="250" alt="example's logo" />

Don’t Be A Fancy Pants

Use vCards With Caution

While vCards are a great, convenient way to share contact information, in emails they add bytes and appear as attachments. It is often said that you shouldn’t use a vCard for your email signature, because as helpful as it might be the first time you correspond with someone, receiving it every time after that gets annoying. Besides, the average email user won’t know what it is. Look at the example below. Would an average user know what that is?

---
Steve Stevenson, Web Designer
www.misterstevenson.com | steve@misterstevenson.com

Vcard in The Art And Science Of The Email Signature

If you do want to provide a vCard, just include a link to a remote copy.

What About Confidentiality Clauses?

If your emails include confidential information, you may need to include a non-disclosure agreement to prevent information leaks. However, good practice is never to send sensitive information as plain text in emails because the information could be extracted by third parties or forwarded by recipients to other people. Thus, including a non-disclosure agreement doesn’t make much sense if you do not send sensitive information anyway.

Keep in mind, too, that the longer a confidentiality clause is, the more unlikely someone will actually read it. Again, check your country’s privacy laws. Some big companies require a disclosure with every email, but if you’re at a small company or are a freelancer and don’t really require it, then don’t put it in. The length of such clauses can be annoying, especially in short emails.

---
Warm Regards & Stay Creative!
Aidan Huang (Editor)
-------------------------------------------
Onextrapixel
Showcasing Web Treats Without Hitch
web . http://www.onextrapixel.com
twi . http://twitter.com/onextrapixel
---------------------------------------------------------------------------------
This email and any files transmitted with it are confidential and intended solely
for the use of the individual or entity to whom they are addressed. If you have
received this email in error please notify the sender. This message contains
confidential information and is intended only for the individual named. If you
are not the named addressee you should not disseminate, distribute or copy this
email. Please notify the sender immediately by email if you have received this
email by mistake and delete this email from your system. If you are not the
intended recipient you are notified that disclosing, copying, distributing or
taking any action in reliance on the contents of this information is strictly
prohibited.
--
This email and any files transmitted with it are confidential. If you have received
this email in error please notify the sender and then delete it immediately.
Please note that any views or opinions presented in this email are solely those
of the author and do not necessarily represent those of Company.

The recipient should check this email and any attachments for the presence
of viruses. Company accepts no liability for any damage caused by any virus
transmitted by this email.

Company may regularly and randomly monitor outgoing and incoming emails
(including the content of them) and other telecommunications on its email
and telecommunications systems. By replying to this email you give your
consent to such monitoring.

*****

Save resources: think before you print.

Don’t Be Afraid to Show Some Personality

Although your email signature should be concise and memorable, it doesn’t have to be boring. Feel free to make your email signature stand out by polishing it with your creative design ideas or your personal touch. Using a warm greeting, adding a cheeky key as Dan Rubin does or encouraging people to “stalk” you as Paddy Donnelly does, all show personality behind simple text.

The key to a simple, memorable and beautiful email signature lies in balancing personal data and your contact details. In fact, some designers have quite original email signatures; most of the time, simple ASCII is enough.

--
h: http://danielrubin.org
w: http://sidebarcreative.com
b: http://superfluousbanter.org

m: +1 234 567 8901
i: superfluouschat

k: h = home, w = work, b = blog, m = mobile, i = aim, k = key
Paddy

--

The Site: http://iampaddy.com
Stalk Me: http://twitter.com/paddydonnelly
--

With optimism,
Dmitry Belitsky
http://belitsky.info
///////////////////////////////////////////////////////////////////
/// Matthias Kretschmann     ///   krema@xxxxxxxx.xx            ///
/// freelance designer &     ///   www.kremalicious.com         ///
/// photographer             ///   www.matthiaskretschmann.com  ///
///////////////////////////////////////////////////////////////////
/// media studies / communication science & art history         ///
/// MLU Halle-Wittenberg                                        ///
///////////////////////////////////////////////////////////////////
--
With greetings from Freiburg, Germany,
Vitaly Friedman (editor-in-chief)
-------------------------------------------------
Smashing Magazine
http://www.smashingmagazine.com - http://www.twitter.com/smashingmag
online magazine for designers and developers

HTML?

If you can, stay away from HTML formatting. Every Web designer knows the pain of HTML newsletters, and while HTML is supported for email signatures, you’ll likely have problems with images and divider lines in different email clients. Some nice ASCII formatting may work in some cases.

--
carole guevin . editor
//// design + digital culture magazine
//// http://netdiver.net
--
Min, Tran Dinh
Chief Creative Designer - Frexy Studio

Website: http://frexy.com | Blog: http://min.frexy.com | Email: info@frexy.com
Cellphone: (84) 012 345 678
- --
Rene Schmidt -- Berater für Web-Entwicklung & eCommerce,
Linux-Webserver-Systemadministration & Web-Programmierung
Vordamm 46, 21640 Horneburg; http://www.reneschmidt.de/
Tel: 0123.456.7.890; Skype: reneATreneschmidt.de
Steuernummer 43/141/09180; USt-IdNr 219014862
-----BEGIN PGP SIGNATURE-----
Version: GnuPG v1.4.9 (MingW32)
Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org/

iEYEARECAAYFAktit8sACgkQucSanG9drm2ZYACggIeQST/C226LIsd/czEmrnrR
TjUAniVPXI2lkA68fy3n+nUawdAE1nJ/
=+vZR
-----END PGP SIGNATURE-----
---
Geoff Teehan
Teehan+Lax
Web Platforms  |  Digital Campaigns  |  Mobile Applications  |  Strategic Consulting

T: 416 123 4567 x 890  |  teehanlax.com  |  twitter.com/@teehanlax
----------------------------------------
Dmitry Dragilev

ZURB | Marketing Lead
getstarted@zurb.com
http://www.zurb.com
------------------------------------------

Follow our blog at:
http://www.zurb.com/blog

Follow us on Twitter: @zurb
http://twitter.com/zurb

Check out Notable - Easiest way for teams to
provide feedback on websites.
http://www.notableapp.com
------------------------------------------
______________________________________________

Website: www.webdesignerdepot.com
Twitter: www.twitter.com/DesignerDepot
Regards,

Matt Ward
Echo Enduring Media

Web - http://www.echoenduring.com
Blog - http://blog.echoenduring.com
Twitter - @echoenduring - Follow me!
--
Dan Rubin
Sidebar Creative { Director of Training & User Experience }

mobile: +1 234 567 8901
http://sidebarcreative.com
--
David Leggett
Tutorial9 Founder
555.012.34567
@theleggett
Tutorial9.net
Gareth Hardy
Graphic Designer | Down With Design

www.downwithdesign.com
gareth@downwithdesign.com
+44 (0) 0123 456 789
Grant Friedman
www.colorburned.com

Follow me on Twitter!
http://twitter.com/colorburned
----------------------------------------
Many thanks,
Yaili.

yaili.comwebdesignernotebook.comlondonchronicles.com
+44 (0) 1234 567890
skype: inayaili
Thanks!
Jonathan Cutrell, Editor
FuelYourInterface.com | @FuelInterface | @jCutrell
--
All the best,

Rob Bowen
Copywriter | Designer | Creative Consultant

Co-Founder/Editor @ Arbenting
& Dead Wings Designs

http://arbent.net/blog

http://deadwingsdesigns.com
Arseny

--
Please consider the environment before printing this email.
---
Arseny Vesnin
http://designcollector.net
Calendar: http://2010.designcollector.net
Profile: http://designhub.ru
Twitter: http://twitter.com/designcollector
Flickr: http://www.flickr.com/groups/designcollector-6
Vimeo: http://vimeo.com/channels/designcollector
Facebook: http://www.facebook.com/designcollector
Warm regards,

Dipti Kankaliya
{ dipti.kankaliya@studiomarch.com }

Studio March Private Limited
12 Moledina Road Camp Pune 1 India
Phone: +91-20-26334002
{ http://www.studiomarch.com }

MarchCast – The Studio March blog
{ http://www.studiomarch.com/mc }
--
This is an official email from Studio March Private Limited and is protected
by a disclaimer. If you are not the intended recipient of this email, please
visit: http://www.studiomarch.com/legal/email.

Of course, if you’re really keen to use HTML, keep it simple:

  • Make sure it still looks good in plain text.
  • Use black and standard-sized fonts, and stay away from big, tiny and rainbow-colored fonts.
  • Don’t use CSS. Inline HTML formatting is universally accepted.
  • Use common Web fonts.
  • Including a logo? Make sure the signature looks nice even when the logo doesn’t load or is blocked.
  • Check how it looks when forwarded. Do all the lines wrap correctly?
  • You may want to load your company image as your gravatar from Gravatar.com as Joost de Valk does.
  • Feel free to experiemnt with your e-mail signature: Jan Diblík uses a signature with dynamicaly changed promo image.

border="0" width="579">
width="55">Misterstevenson1 in The Art And Science Of The Email Signature width="513">Steve Stevenson, Web Designer /> www.misterstevenson.com | steve@misterstevenson.com

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Separate Signature From Content

Your signature should clearly be a separate entity. Wikipedia explains the correct way to separate the signature:

“The formatting of the sig block is prescribed somewhat more firmly: it should be displayed as plain text in a fixed-width font (no HTML, images, or other rich text), and must be delimited from the body of the message by a single line consisting of exactly two hyphens, followed by a space, followed by the end of line (i.e., “– \n”). This … allows software to automatically mark or remove the sig block as the receiver desires.”

There are other less standard ways to separate your signature. While not automatic formatting, a line of —–, ======, or _______ or even just a few spaces will visually separate your signature from your email.

--
----------------------------------
Dan Oliver (editor)
.net magazine (www.netmag.co.uk)
----------------------------------
Twitter: danoliver
Email: dan.oliver@futurenet.com
Phone: 01234 56789
----------------------------------
Address for deliveries:
.net, Units 1 & 2 Cottrell Court,
Monmouth Place, Bath, BA1 2NP
----------------------------------
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Elliot Jay Stocks
Elliot Jay Stocks Design Ltd.
Registered in England & Wales #1234567

http://elliotjaystocks.com

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
###

Cheers,
-Dan
Vennlig hilsen
Lars Bæk
Byråleder & Tekstforfatter
...................................................
JØSS!
Storgata 15, 2408 Elverum
Mob (+47) 01 23 45 67
xxxx@joss.as | www.joss.as
----------------------------------------------
Information Architects Inc.
Tokyo Zurich

Oliver Reichenstein, Founder

http://informationarchitects.jp
http://webtrendmap.com
http://twitter.com/iA
----------------------------------------------

Wrestling With Your Email Client

Tug Of War1 in The Art And Science Of The Email Signature

Offering general advice on signatures is easy, sure. But anyone who has tried to implement automatic signatures in Outlook, Gmail or Yahoo knows it’s not always that simple. Here are some resources to help you get yours right every time.

Outlook /> Changing Outlook’s signature is a real pain, but here’s a guide that teaches you a few things. If you use Outlook 2003, here’s another tutorial on custom signatures.

Entourage /> Microsoft’s mail for mac works differently. Here’s a tutorial on how to set it up.

Gmail /> Want just one basic signature? Here’s how to change the text. You’d think Google would allow you multiple signatures, links and a bit of formatting. If you’re looking for something a little more designed or wish to choose between multiple signatures, here are five ways to do it in Firefox.

Hotmail /> Tips on custom images and more for Hotmail (Oh my!) can be found here. If you use Windows Live, here is a tutorial on adding images and HTML. The detail is helpful, even if the images are awful.

Yahoo /> After a bit of research, I found that Yahoo used to support HTML signatures, but no longer. Here’s how to change your signature using rich text.

Apple Mail /> Here is a pretty decent tutorial, with some inline HTML for formatting. It then explains how to implement it in the application. You even get some hints on how it will look on the iPhone.

Palm Pre /> Learn how to customize your message on your Palm Pre here.

iPhone /> Customize your “Sent from my iPhone” message here.

BlackBerry /> Some information on how to change your message on BlackBerry smartphones here.

Resources

Related Posts

You may be interested in the following related posts:

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© Kat Neville for Smashing Magazine, 2010. | Permalink | 81 comments | Add to del.icio.us | Digg this | Stumble on StumbleUpon! | Tweet it! | Submit to Reddit | Forum Smashing Magazine
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Leia o artigo completo aqui!/Read full article here