So far, most of the responsive design thinking has revolved around covering the range of experiences from mobile to desktop. Yet little attention has been paid to the opportunities for expanding that range beyond the standard desktop screen, to create an experience optimized for modern large-scale displays. In this article, Christian Holst will explore how e-commerce designers could use responsive upscaling to craft a tailored experience for users with big screens. He’ll cover one core principle, along with 11 ideas for upscaling different parts of the e-commerce experience to deal with the various usability challenges observed during our e-commerce usability studies.
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Our dear friend Anselm Hannemann is keeping track of everything that’s happening in the industry so you don’t have to. Starting from today, we are happy and honored to feature a bi-monthly web development reading list here on Smashing Magazine. Now it should be a bit easier to stay up to date! Welcome to the one hundredth edition and the first one to appear on Smashing Magazine. Anselm is very happy to keep you up to date with the web development industry. If you have any feedback, please let us know in the comments or write him an email.
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The future of web layout is bright, thanks to flexbox. The CSS layout mechanism lets us arrange elements in a truly web-like way. Some elements can be fixed, while others scroll. The order in which they appear can be independent of the source order. And everything can fit a range of screen sizes. Yep, it’s a great time to jump into flexbox if you haven’t done so yet. But flexbox has a dizzying array of features, and in this article, Ben Gremillion will take a look at how you could create a basic Gmail-like, flexbox-based interface. If you haven’t explored or fully understood flexbox yet, this piece will revisit and explain a few things that might be confusing at first.
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Chris Coyier has published a fantastic post recently covering the debate on the role of CSS in light of growing popularity of React.js, extensively and objectively. That’s the quality discussions we need, and that’s what keeps us evolving as a growing and maturing community. Web technologies are fantastic. Our tools, libraries, techniques and methodologies are quite fantastic, too. Sometimes they contain mistakes, but we can fix them due to the nature of open source. There are far too many badly designed experiences out there, and there is so much work for us to do. It’s up to us to decide whether we keep separating ourselves into small camps, or build the web together, seeking pragmatic solutions that work well within given contexts.
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Our priority as designers must be to solve problems; his is what we do. Responsive web design is a fantastic solution to the problem of creating virtual experiences that adapt to different devices. There are other problems out there that we’re called on to solve, though, not least of which is to make content of all kinds appear interesting and engaging. A page of plain text becomes a beautiful blog post, a mess of unconnected JPGs becomes a professional portfolio. Can we succeed at solving both of these problems?
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Balancing a composition involves arranging both positive elements and negative space in such a way that no one area of the design overpowers other areas. Everything works together and fits together in a seamless whole. The individual parts contribute to their sum but don’t try to become the sum. An unbalanced composition can lead to tension. In some projects, unbalanced might be right for the message you’re trying to communicate, but generally you want balanced compositions. However, design principles aren’t hard and fast rules. They’re guidelines. There’s no one right way to communicate that two elements are similar or different, for example. You don’t need to follow any of these principles, although you should understand them and have a reason for breaking them.
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A handful of simple shapes have been used throughout time in the art of all cultures: the circle, intersecting lines, the triangle, the square and the spiral. Each fundamental shape never varies in its basic function because each unifies purpose with form. Don’t let the simplicity of these forms fool you. It is because they are so simple that they have the ability to scale consistently and are used as the building blocks of nature and the man-made world. They also provide consistent messaging for a logo. In this third part of the series, Maggie Macnab will talk about how geometry influences logo design.
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The essential property of a pattern is repetition. Because they are continuous, they read like a story. The periodic migration of herds, the transit of constellations across the sky and the distinct features of different terrains are all examples of patterns that create expectations upon which we depend. Designers use patterns based on nature because they are reliable. This three-part series explores fundamental creative strategies for designing effective logos. The first part showed how to use symbols, metaphors and the power of intuition. In this part, Maggie Macnab shows you how to use nature’s patterns in logo design.
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Animation on the web has the potential to revolutionize our small bright box. We can go even further than traditional animation because we can accept user feedback and input. With these tools we can throw away the soul-destroying, bleak, dark engagements that govern things like airline ticket purchases. We can bake animation into the core of our user experience process to create dazzling, exciting, and engaging work that pushes boundaries and collectively elevates the medium of the web. We can help people by unfolding scenes like a choose-your-own-adventure that can feel fluid, interesting, and intuitive!
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Designing a good logo is the utmost in creative problem-solving. The process makes you really think succinctly about how relationships work. The practice of logo design develops your skills of intuition to recognize obscure but effective solutions and teaches you to discover connections that aren’t apparent on the surface. Adding a universal quality to a logo provides the broadest communicative reach, what almost all identities are intended to accomplish. This three-part series explores fundamental creative strategies for designing effective logos. The first part shows how to use symbols, metaphors and the power of intuition.
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