by Qing Hu | Jul 27, 2012 | Business Success, Design, Interactive
Web Design isn’t about the layout, the colour, the look or the impact of a site. In fact, behind every great website is a great web design usability interface. Success or failure of your website depends on user the web design usability interface. A website is your first impression out there in the real world… so it’s important that the user interface provides everything that the end user is looking for , easily, while on your website. Success or failure of your website depends on user the interface. Viewers, surfers, user… a call them what you will, cannot find what they seek if the interface is poor.
Jakob Nielsen, a Denmark web usability consultant, suggested the following heuristics (must haves!) for user interface design:
Visibility of system status
A website should always keep users informed about what the site is about, what page they’re currently looking at and where to click. It is recommended to have your site’s title and page name visible on every page so that users know their whereabouts.
Match between system and the real world
Websites should speak the target audiences’ language, with words, phrases and concepts familiar to them, rather than using technical terms. The copy should be relevant, engaging and provide learning. It should also be streamlined and efficient.
User control and freedom
Viewers often click for the stake of well, clicking and find themselves on a page that they don’t want to be on. Make sure your website has clearly marked “exit” to leave any unwanted pages… and back to the pages they want to be on. Similarly, users sometimes will click on links that takes them to another page while leaving the page they are visiting. To remedy this problem, websites should support undo and redo. For example, having links opened in a new tab or new page instead of having users leave the page.
Consistency and standards
The intended audience should not have to wonder whether different words, actions or layout mean the same thing. Websites should follow conventions (e.g. font color and size consistency, same header and footer height across pages, image size and etc). Make sure all pages on your website have the same look and feel. If not, users will think they’re on another website.
Error prevention: Recognize, diagnose, and recover from errors
A good design should prevent problems from occurring in the first place. For example, when designing a contact us form for your website, you should clearly mark the required fields. Somewhere on your contact form, you should include *(denotes required field). If an error still occurs, be sure to send the users a clear error message. The message should be worded in plain language (no codes), indicate where were the errors and suggest a solution on how to fix the errors.
Recognition rather than recall
Minimize the user’s memory load by making objects, actions, and options visible. Instructions for use of the website, such as sitemap should be visible whenever appropriate.
Example: In interface speak, website links have 4 states. Make use of these to ensure that users know where to click, where they’ve visited and what page they’re on at all times. Here are the 4 states.
a:link {color:#000000;} /* unvisited link */
a:visited {color:#666666;} /* visited link */
a:hover {color:#CCCCCC;} /* mouse over link */
a:active {color:#FFFFFF;} /* selected link */
Help and documentation
Even though it is better if the website can be used without instruction, it may be necessary to provide help and documentation, such as a FAQ page that contains information related to what the user is trying to find. Have a “contact us” link visible on every page, so they can email you with any issues, questions or concerns.
Why is this important? Consider this: You may have the greatest SEO campaign or Google Ad Word Campaign, but if it leads your intended audience to a site that isn’t providing them with the expected web experience, you’ve just lost them.
Is your website design usability optimized for user interface?
by Lindsay Sleightholm | Jun 28, 2012 | Business Success, Creative, Design
If an image is worth 1000 words, combine that image with text and the actual meaning behind the image becomes clearer. The variable of 1000 different words is reduced to only those that are necessary. This is not to say an image cannot speak on its own – many talented photographers, illustrators and artists can attest to that. Nonetheless, image and text together create a more focused message and is the root of great advertising. Further, the chosen typeface not only speaks with the image, it also speaks for itself.
Let’s start with typography
The origins of typography can include the first forms of written language and date back to about 3000 B.C. with Cuneiform by the Sumerians. However, it wasn’t until about 1440 A.D. when Johann Gutenberg created the printing press utilizing moveable type that typography as a craft really took off. This involved the process of printing by use of type blocks made of metal with raised letterforms that could be inked and pressed into a substrate.
What is the role of typography?
The roles of typography, typographic style and the typeface as parts of visual communication have evolved over the ages. Fast forward to today, within the information age (digital age) and there isn’t much we can’t do with type. We have many different tools and methods for working with typography. However, the principles behind it have not changed much since Gutenberg’s contribution. Ultimately, the role of typography should remain to honour content.
So, what’s in a typeface?
A typeface in itself is a visual. If you do not understand the language presented in type, you see it only as a visual. Although, a typeface is much more than it would appear at first glance. It is ruled by legibility, but also communicates through the form of it’s characters to provide meaning.
As designers and creatives know, we all have quite an attachment to the typefaces we work with. Unlike images, typefaces as elements are the ones that we refer back to on more than one occasion, so much so, we know most of them by name. Also, we know their “personalities” and which one of them would pair best with any given image.
A good typeface as part of a design can be compared to a good orchestra as part of a stage production. The music is heard and felt, but does not bring undue attention to itself. It aids the message. This happens not just through its personality and style, but also the mesh it makes with its image counterpart. It is the partnership of these elements that create a complete spectacle. If one overshadows the other, the message may suffer.
Respect for the typeface
If typefaces are ruled by legibility, we also need to consider their readability. As designers we aim to strengthen the meaning conveyed by a typeface through proper setting, size and placement. After all, any good “face” deserves that much. Without respect for the typeface, and its letterforms, many beautifully designed and legible typefaces can lack readability.
Where is typography now?
Well, through its many evolutions, typography has been handcrafted, mechanized and digitized. With these advancements in technology our relationship with typography has become strained. The speed, ease and flexibility that we have been afforded also means the time consuming task of attention to type can sometimes suffer.
Generally speaking, typefaces have been battered and bruised, scaled, pushed, prodded, stretched, outlined and sometimes just ignored entirely. However, as with any good element, the well intentioned and humble typeface continues to hold strong to it’s rightful place in graphic design.
Once upon a time (and not that long ago), there was an entire industry dedicated to typesetting. The specialized role of the typesetter was to govern the accuracy of the text component in conjunction with the designer’s visuals. Now, the role of designer includes typesetting. Graphic designers hold sole responsibility towards the success of typography within visual communication.
“By all means break the rules, and break them beautifully, deliberately and well.”
– Robert Bringhurst: The elements of typographic style
A good typeface should be embraced for its succinct presence, rather than written-off to optical software. So, let’s all just remember for a moment how much our typefaces mean to us, and how we can best show off their strengths.
What role does typography take in your design and more importantly, how much attention do you give it?
Further reading:
The Elements of Typographic Style
Typographic Design: Form and Communication
Type and Image: The Language of Graphic Design
Stop Stealing Sheep & figure out how type works
by Lindsay Sleightholm | Jun 1, 2012 | Business Success, Design
To spec, or not to spec: that is the question
As a graphic designer, I understand the need to build your portfolio, expand your client base and stretch your creative muscles as much as possible. But from one creative professional to another, I feel compelled to urge you not to participate in spec (speculative) work – including design contests and crowdsourcing.
What is spec work? It’s submitting creative or graphic design to a potential client who hasn’t yet agreed to pay you for that work. As a result, that potential client can offer up any type of possible compensation, or, I should say, the possibility of compensation – without legally promising anything. And you may never see a dime.
Need an example?
All right, let’s say Company X launches a promotion calling for entries for the design of their new logo. In return, they’re offering a $250 prize to the winner – plus, the bragging rights that go along with having published work. What’s more, no experience is necessary. If you win, there is also the possibility to include that piece in your portfolio, opening the doors to many more opportunities in the future. Sounds great, right?
Well, there are a few more questions you need to ask yourself before proceeding with your contribution. First of all, why is Company X using a contest to develop their new logo? Why not just hire a designer? Do they not have the funds to actually pay for graphic design? Is this actually what my time and skills are worth? Will this really lead to more opportunities from bigger clients in the future?
Amateur or professional?
There are certain groups of individuals that are within the rank of amateur. Amateurs often are going through the process of participating in competitions in order to hone their skills and improve their rank. There is a judging panel that decides final rank and ultimately a winner. Typically, this also means no payment is received. Some of these include Olympic athletes, voice, dance or acting talent hopefuls.
On the other side of the spectrum, there are professionals. These individuals are paid to perform specialized tasks. Graphic designers are within this category. Unfortunately, as is common practice within the industry, there is a process called “pitching” to a potential client. This is generally understood, as mandated by clients, as being spec. To any agency, this means their creative potential is cut short by having only the limited information given within the brief. In addition, the agency may or may not be informed that they have competition. Ultimately, it is the time, concepts and designs of the creative team that are presented; yet, these individuals are the only ones around the boardroom table who will not be paid to be there.
Why is it that creative professionals should have to take on gratis work, that in effect, puts them in the category of an amateur?
Is spec work bad?
When it comes to spec work, “bad” may not be the right word to choose. “Unethical” would be more appropriate. “Risky” might be even better.
By not having a solid agreement in place between the designer and client, there’s greater risk for the designer. The designs offered up could potentially be used without the designer’s knowledge, and he or she is by no means guaranteed compensation. Even the prize initially promised could end up being less than advertised. What at first seemed like a nice, shiny carrot could later resemble little more than scraps.
As a designer, you’re not the only one who may lose out from being part of a design contest. Spec work devalues the entire graphic design industry. It drives down the going rate for design work, while driving up the misconception that graphic design can and should be acquired as cheaply as possible. Put simply, it makes it difficult for everyone else in the industry to be respected for their worth.
We all make mistakes
Okay, so now you know a little more about spec work. Think back to that contest you entered a few months ago. You put a lot of hard work into that design, and sent it off with high hopes of being chosen as the winner, right? I’m guessing not much resulted from that entry. If you were lucky, maybe you got a “thank you” for a job well done. Does this sound familiar to you?
Everyone makes mistakes. What’s important is learning from them and passing on those lessons to others. Instead of entering contests, there are much more effective ways to build up your experience and credibility. If you haven’t already, get yourself on LinkedIn, visit your local design council, or talk to that friend-of-a-friend who knows someone in the industry. Fostering good relationships with your peers is a much more reliable way to further your career.
While we’re on the subject, here are some great resources for learning more about spec work:
• AIGA, the professional association for design (AIGA – USA)
• Society of Graphic Designers of Canada (GDC – Canada)
• No!Spec (international)
There are always different sides to the same story. This is my view. I’d like to know your view on spec work.
by Christine Marr | Apr 12, 2012 | Branding, Creative, Design
Our reaction to colour is subliminal. As consumers, we are generally unaware of the persuasive effects of colour. Psychological effect is instantaneous, stimulating the senses and power of suggestion. We see it in every level of communication: in corporate identification and logos, signage, advertising on tv, billboards, in print media and packaging, on the computer and in-store. As we zip down isles in our favourite stores, our eyes rest on a package for approximately .03 seconds. In that blinking-of-an-eyelash timing, the packaging/sign/logo must rivet the observers’ eyes, inform them of the product, and, more importantly, appeal to their psyches.
I doubt I am saying anything new here. However, last week, we went to visit a client at their office and what happened there, prompted me to take note about colour and how we identify with it. We hadn’t been to Dentsply Canada’s office in a little over six months. As we walked through the door, the receptionist glanced up and said “…from 3H?”. Wow, that completely floored me. We make a point of always wearing purple when we see clients, because purple is the dominent 3H brand colour. This was enough for the receptionist to remember our visit from 6 months ago. We, at 3H, are strong believers in Brand Recognition!
We practice what we preach. While we clearly know and acknowledge that it takes much more than colour to build a brand… what you do with a “brand” colour clearly enables and facilitates brand recognition. Colours are so intimately associated with a brand that just the suggestion of a colour is enough to bring a brand to mind. That’s isn’t simply amazing… it’s awesome in building equity.
Think about this…
When you think of Home Depot, what colour comes to mind?
Which bank is “blue”, which one is “orange”, and which one is ‘green”? Close your eyes and picture the Google logo. The McDonald’s logo? And for my Canadian readers… what is meant by the “Windsor” blue.
Our reaction to color is instantaneous and this lens is a quick look at general responses based on research, historical significance of color and word association studies. Let’s take this one step further… picture the Home Depot logo, but with different words in the same font in the orange box… would you still recognize it? Would you see the logo as a whole, as one image, and recognize it instantly, associating it with Home Depot.
So when developing a brand and beginning with the basics of creating a logo… choose a colour that would represent your brand identity effectively for now and the future…And repeat after me….
Repetition, repetition, repetition… consistency… everywhere… all the time. Exposure over time ensures success….. but that’s a different point of discussion! Colour makes a brand stand out and command attention and make sure that the Logo colour matches your brand mission and message to create the brand identity you want.
So what do colours mean anyway? Here’s a brief overview.
Green occupies more space in the spectrum visible to the human eye than most colours. Green is the pervasive color in the natural world, making it an ideal backdrop in interior design because we are so used to seeing it everywhere. Green is considered the colour of peace and ecology.
Purple embodies the balance of red’s stimulation and blue’s calm. This dichotomy can cause unrest or uneasiness unless the undertone is clearly defined, at which point the purple takes on the characteristics of its undertone.
Blue is seen as trustworthy, dependable, and committed. As the collective colour of the spirit, it invokes rest and is calming.
Yellow shines with optimism, enlightenment, and happiness. Shades of golden yellow carry the promise of a positive future. Yellow will advance from surrounding colors and instill optimism and energy, as well as spark creative thoughts.
Pinks are youthful, fun, and exciting, while vibrant pinks have the same high energy as red; they are sensual and passionate without being too aggressive. Pink is the color of happiness and is sometimes seen as lighthearted.
Orange sparks more controversy than any other hue. There is usually strong positive or negative association to orange and true orange generally elicits a stronger “love it” or “hate it” response than other colours. Fun and flamboyant orange radiates warmth and energy.
Understanding colour and what they represent is important in establishing a brand persona. In today’s world of fast communication and overload of visual stimuli, it is more than vital that brand expresses its identity at the blink of an eye.
If you had to define your personality as a brand colour, what would it be?
by Lindsay Sleightholm | Mar 27, 2012 | Branding, Business Success, Creative, Design
It’s been said that nothing is new, and everything old is new again. Never has that been more obvious than in today’s retro-infused consumer market. The trend towards aesthetics of the past are everywhere: fashion, art, music (the amount of remakes out there are enough to make your head spin), home decor, cars, architecture – you get the point.
So what is “retro” anyway?
According to Wikipedia, retro is “a culturally outdated or aged style, trend, mode, or fashion, from the overall postmodern past, that has since that time become functionally or superficially the norm once again.”
Basically, it’s a blast from the past. And we can’t seem to get enough of it. It’s part of human nature to gravitate towards the familiar. Psychologically, going retro gives the impression of standing the test of time. It has merit. Not to mention, it gives us that warm, fuzzy feeling that we so often crave.
Jumping on the Radio Flyer
Nostalgia seems to be something of a “new” commodity these days. Many are jumping onto the retro bandwagon, and not in an entirely elegant way. A lot of it is far too deliberate. There is no subtle throwback to a bygone era; it’s become outright blatant, down to the letter (or typeface if you will). Some may say it’s actually “retro reinvented,” meaning that it’s taken on a modern spin. But when that modern spin is just a whisper against the overall retro message, it can hardly be considered modern.
Okay, I’ll be the first to admit that I have a definite inclination towards thing of the past. But if Cyndi Lauper were to walk up to me today and ask me to design her new identity, it would not look like something from her earlier albums. Why? Because even she has moved forward. She’s not the same flamboyant performer of her past. She has evolved – not just reinvented, but changed.
Has retro design seen its day?
The primary goal of today’s retro revival seems simply to be to mimic a style instead of creating one. Actual art and design movements of the past were born in large part due to a cultural shift. And for the most part, they generally shifted forward. But there’s no shifting forward with retro design; it’s going back, because that’s what retro does.
Maybe we’ve run out of ideas, or we don’t know how to design for this nameless age. Or maybe we really do want to go back in time.
Graphic design will always have a strong link to its roots. That is, to those who came before and blazed a powerful trail to follow – great periods such as Art Nouveau, the Victorian era, the Industrial Revolution and, yes, even the latter half of the 20th century. But when we lean on the ideals of the past too much, we stop ourselves from moving forward.
Instead of going back, perhaps we should take a moment to think about where we’re going to be in the future. Maybe – just maybe – we’ll like it just as much. And if not, in 20 years it’ll become retro again anyway.
So, what do you think? What else have you’ve seen? Share your examples of the good, the bad and the downright embarrassing of retro graphic design…
