In this article, Charles Hannon will show you how to wave the structure of jokes into the structure of an interaction, so that the feeling of delight one gets from a joke is re-expressed as a more lasting form of understanding and competence through the interaction. Specifically how the very moment one does or does not get a joke, does or does not understand an interaction.
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In recent years, new prototyping tools have emerged, many for mobile design. The landscape is constantly changing, with some tools losing favor with UX designers (or UXers) and others taking their place. While this article will not serve as a complete paint-by-numbers manual for selecting a prototyping tool, Svetlin Denkov will discuss important factors that influence the selection process. Near the end of the article, the “Resources” section will point you in the direction of more specific comparisons to give you additional context for decision-making.
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Laura Elizabeth never found color theory useful when trying to use color in her projects. Somewhat ironically, she’s been finding that the better she got at choosing and using color, the better she became in the theory behind it. In this article, Laura shares a simple color workflow that you can use in your next web project.
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To celebrate all the little moments of inspiration that comes from the colors of your favorite music album, or the typography on a book cover, we have compiled some resources for you which honor the beauty of graphic design and the ideas behind it. Perfect to squeeze into a short coffee break. Enjoy! The variety is endless, and sometimes you’re lucky and find a little piece of art shining through the sheer mass. It’s inspiring to see how designers boil the idea behind a book down to the limited canvas space of one rectangle. What will it inspire you to? Perhaps something extraordinary, like your own series of book covers made with HTML and CSS?
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As logo and brand designers, our work starts long before the first concept sketches, and finishes long after the last perfectly placed pixel. Our work requires so much more than just creative ideas and technical skills — it compels us to be a marketer, strategist, psychologist, salesperson, showman and project manager at the same time. It’s difficult, but it’s also exciting and challenging! The goal of my article is to help you rethink your (logo) design workflow. Some of these tips are mine, others are borrowed from world-famous designers. All these tips and tricks are tested and proven, and are tailored to improve your workflow for (re)branding projects.
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Yes, deliverables can slow us down and result in documentation that no one reads. But the right deliverables anchor teams in a united product vision, provide early validation for product ideas and speed up (the right) making activities. Those are worth the drawbacks for me. “Get out of the deliverables business” has become quite a mantra in the lean startup and UX movements. What follows is an account of Rian van der Merwe’s journey in navigating stormy design seas together with the community. Remember, deliverables aren’t bad. Bad deliverables are bad.
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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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