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The Role Of Design In The Kingdom Of Content

If content sits at the top of the food chain, why do we spend so much time talking about the finer points of design? Every day we debate, experiment with and discuss topics that easily fall into the category of aesthetics, enhanced functionality and layout; in fact, relatively rarely do we talk about content. Nevertheless, even though we should concede that content is king in this realm, this doesn’t mean that design should be devalued.

It may seem logical that the user experience lives and dies by how the user relates on an emotional level to the content on a website. But this is not necessarily the case. From a design perspective, our job is to maximize the value of every visitor, whether they love the content or hate it. The role of a UX designer is not always to make everyone feel all warm and fuzzy inside. A rich Web experience could include the emotion of happiness, humor, discontent, sadness, anger or enlightenment. A well-designed website enables us to attribute our emotion to its source and connect us to that environment through a range of senses. A UX designer should understand why and how to utilize the principles and techniques they have learned to support the website’s precious content.

Justifying User Experience Design

Investing in UX design as an amplifier of good content is not always an easy process. In many industries, a product that fills a demand and that works as it should is good enough. Most of us don’t care how an ink pen or a computer monitor makes us feel, as long as it works. A large portion of the Web still reflects this sentiment, as do clients and project managers who haven’t been educated in the value of UX.

A website is a much more involved product than an ink pen and calls for a different measurement of user satisfaction. A product that merely meets demand and works correctly does not suit a medium that is so highly interactive and saturated. As designers, our task sometimes is to convince other parties of the value of building a user’s personal engagement with the website’s content. Fortunately, we have examples of companies that have done UX right and that have the success to show for it.

As a geek who enjoys building computers, I look to Newegg as a good example of a company that has played to its strengths to deliver a superior user experience. In its early days, Newegg’s fair prices and lightning-fast delivery of computer components made it the place to shop for IT people. This was all great, but the real kicker was that users who loved to share product strengths and weaknesses with each other could do it all on Newegg’s website.

This turned out to be a fantastic benefit for new users, who were inclined to trust the experience and suggestions of people they regarded as peers. As a result, Newegg built a massive army of geeks who generated content and provided an extremely valuable experience to its users. If you had a device or component that was functioning oddly or not at all, chances are that someone had shared the cause and maybe even a solution in a Newegg review.

Newegg

Newegg acted on this opportunity the right way by using design to highlight its most valuable content. While its design may not be the slickest or most modern, Newegg provides a great experience and has high user satisfaction. Ratings and reviews by peers have become a driving force in Newegg’s design and populate nearly every page. As the design has evolved over the years, product reviews have floated to the surface of nearly every page, and the system for contributing reviews has grown in depth and functionality as well. Newegg even took this to the next level with a recent nationwide ad campaign and design. All of this came about because Newegg identified which of its content made for a strong user experience and built on it, which should be done in every Web project.

Identifying the content that makes you stand out is only the first piece of this puzzle. What we really want to explore is how to take everything we have learned about color theory, lines, shapes and visual movement and apply it to our content in a way that doesn’t just decorate it or even make it pop on the page, but rather that supports the conversion of a goal or delivery of a message. Much like how the primary function of petals on a flower is to attract insects to pollinate, good design ensures that your website will thrive. All of that great design talent needs to be applied not only to the content but to the layer before and after it as well.

The Delicious Design Sandwich

With virtually every website, good UX design can be sectioned into three parts or events: introduction, consumption and reaction. Content is at the core, the meat of what the user is looking for, and on both sides of the content are events that are driven by a well-executed design.

User Introduction

The Web is a world of first impressions, and quick ones at that. Users form an opinion of a website within the first few seconds of loading it. This means that the colors, the layout and the presentation of headings are all evaluated before any content is actually absorbed. Users are inclined to scan content until they zero in on something that piques their interest. Regardless of what your content actually says, the design around it controls what the users see first and how their eyes move across the sections of the page.

In addition to searching for interesting information, users will also be determining how credible this resource is. Despite being constantly taught that we shouldn’t judge a book by its cover, all of us are susceptible to trusting a resource based on our familiarity with it, what our peers think of it and the time and money that we estimate was put into its construction.

Living Social takes advantage of this in its design in multiple ways. A quick scan of the main page after the user has entered an email address and location reveals several techniques that have been implemented to elicit a reaction from the user.

Living Social

Perhaps most striking is the background image. In every city that Living Social serves, a background picture loads that the visitor can relate to. I immediately connected with this website because I did a double-take at the background image and realized that I pass by this area all the time: it’s just down the road from me!

Living Social has also done the little things right. A clear hierarchy is established on the page through the headings and content modules; the call to action is the most prominent element; and the interactions oriented around engagement are easily accessible. The counters that tell you how many people have bought the deal and how much time you have left generate sufficient peer pressure.

Living Social

When all is said and done, Living Social has invested in the introduction side of its design, which makes a lot of sense given its content. Living Social and the other daily deal websites thrive on a high volume of quick visits, which means they often live and die on first impressions. The heavy emphasis on the impression portion of this design begins with the content. Instead of fitting content into a design concept, Living Social has wrapped an appropriate design around the content that it wants to feature. But we aren’t done there.

Content Consumption

Even in the process of consuming content that we’ve proposed, design plays a huge role. The crucial rules of typography control the experience that users have when reading articles. The mood of images and video can vary drastically based on their aesthetic setting. If your primary content is user-generated, then the ability of users to interact with the website and each other will be driven by the interface you’ve designed.

More than anything else, content is an opportunity to set the tone of the website. We have all witnessed the untold damage that is done when content that should have a professional tone is set in Comic Sans. The font face, size and color can do an amazing job of controlling how your website says something that leaves an impression on users, which leads to the final piece of our sandwich. Along these lines, the way you frame entire portions of the website gives the audience clues as to what their emotional reaction should be.

We see this naturally develop with websites created by designers for their own peers. Portfolios, design-related apps, and websites for networks and conferences are all designed for tone. Of course, getting too extravagant in an attempt to impress is the opposite of what we are trying to achieve here. However, in the case of a conference about HTML and CSS, a website that experiments with the edges of what’s possible with HTML and CSS is an appropriate setting for the content.

The Combine

Like many websites for technology and design conferences, The Combine in Bloomington, Indiana, is highly design-driven. In addition to the slick HTML and CSS that will resonate with the professionals being targeted, the aesthetics intentionally reflect the small-town atmosphere of Bloomington. The same features that distinguish the location of this conference also encourage users to identify with the design.

User Reaction

This may be the most understated design-driven activity on a website, but it carries huge value. How the user responds to your content is pivotal to the website’s success. These days, merely delivering content is not enough. The Web has a wealth of information and options. In order for a website to enjoy any success, it must take advantage of referrals, links and maybe a bit of buzz on social networks. If we want to stand out on the Web, our users need to share our content with friends or contribute their own thoughts, reactions and content.

YouTube serves as a practical example of building an experience around the user’s reaction. YouTube kickstarted the concept of viral videos, but getting there required that the website be designed around the content itself. We all know that a massive amount of content is uploaded to YouTube every day, but the degree to which a video goes viral depends on how encouraged the user feels and how easily they are able to share or contribute to the experience.

YouTube

It doesn’t take a trained eye to see this in action all over any given YouTube page. Suggested and related videos are always available, along with the option to share a video on your favorite social network or embed it anywhere on the Web. Of course, the design was not made to look good on its own and then this functionality shoehorned in. Again, the emphasis is on the content, and the design elements that result in the user’s reaction are all rooted in sharing or exploring that content.

In a world driven by likes, tags, tweets, shares and votes, the follow-through that a website and its content facilitates becomes a massive factor in its success or failure. A user who visits a website, views the content and then leaves generates little value for the business. For this reason, we see blog articles sprinkled and even littered with related content, suggested videos that come up after you watch a clip, and quick and easy share and save buttons everywhere. The follow-through on each of these actions is highly design-driven. The color, shape, size and location of links and buttons determine whether a visitor sees them quickly or not. But, of course, we can’t expect everyone to play the role that we define for them…

Designing For An Experience

As important a role as design plays in the perception of and reaction to your content, people still argue that a user experience cannot truly be designed. Of course, the user ultimately decides how they engage with any design. If the goal of a design is to convert every single user into a customer, then failure is the only outcome. We can, however, design an experience that connects immediately with a target audience, delivers information with a clear tone and purpose, and encourages a response.

We want to design an experience for users who are willing to buy into it. Users come to your website most likely because they already have some interest in digging into the content, which means they are willing to play into the experience that you have designed. If a user stumbles on the website by mistake, then taking them all the way to the reaction stage of the experience becomes more of a bonus than a goal.

Different techniques for driving engagement with content can be found across the Web. If you’ve been to the blog xheight lately, you may have noticed its effort to prioritize the content in its posts. In addition to the minimalist design, the designer further isolates the content by fading elements out of view after your cursor has been idle for a few moments, leaving the article you are reading as the only element on the page.

X Height Blog Before

X Height Blog After

The jury is still out on whether this makes for a better or more distracting reading experience, but this design decision clearly centers on the content that the designer wants to deliver.

A different technique is apparent on the Livestrong website. When the user hits the browser’s address bar or tries to click away after reading an article, a modal window with related content pops up. It’s interesting that the modal window is enabled only in the blog section of Livestrong, and not by mistake. With a website this rich in content and from so recognizable a brand, the designers could assume that the majority of traffic to these articles would come from search engines. The goal here is to keep users from jumping back to Google for more content and to have them continue engaging with the content here.

Livestrong
Editor’s note: The Live Strong site no longer has this feature since it seems to have been modified right before we published this article.

Keep Designing

Now as much as ever, companies are recognizing the value that good design and a solid user experience can bring to them. UX design is about developing a road map for the user, encouraging certain actions, and developing a user base that wants to engage with your content.

The key to driving this engagement is to ensure that we value design in the right way, not simply as a template, theme or color scheme but as a support system for key content. We can use design to make a website unique and more memorable. We do this by laying the foundation of a good impression, enabling smooth and meaningful consumption, and encouraging engagement with the content. All three of these areas are opportunities to drive a user experience that is in harmony with our content.

Showcase of Beautiful (or Creative) E-Commerce Websites

Designers are constantly striving to create eye-catching designs without losing the usability features that add significant importance to the experience of online shopping. Today’s showcase presents a variety of websites with elegant design solutions and innovative design techniques. We have analyzed the designs and now discuss their advantages and disadvantages in this review. We also suggest improvements and further ideas that could help improve shopping experience on these sites. Hopefully, you can learn something useful from our thoughts.

Heartbreaker Fashion
With clothing inspired by ’50s and ’60s fashion, pin-up girls and vintage culture, Heartbreaker’s design nicely fits the company’s profile, with its pastels and retro textures. Good use of dotted and dashed borders, which separate the various elements rather delicately. Notice how well the designers keep the vintage theme across the product and category pages, with nice attention to detail for the credit card icons in the footer.

Hunter’s Wines
Hunter’s Wines is an online wine store. The front page introduces some dynamics in its grid by placing text blocks next to each other in a somewhat chaotic manner. Notice how well the design separates sections of the pages by using yellow color in the background of the wine bottles. Product pages contain an interactive, sophisticated search filter, backed by a pastel color scheme and beautiful typography that nicely fits the overall feel of the site. The color of the text on call-to-action buttons could be improved.

Also, we have doubts about some elements on the page. A symbol under the wine bottles doesn’t really have any purpose and the arrow in the right upper corner of sections in product pages doesn’t seem to work properly. Overall, a very nice design which could use just a bit of rethinking to improve the shopping experience.

Sassy Duck
Sassy Duck is a young fashion-forward handbag brand that creates luscious accessories for the modern woman. This website literally elicits a hunger for those female accessories. Again, large product photography is striking on the website, trying to evoke an emotional response from the site’s visitors. It’s interesting that the overview pages do not contain prices — they are displayed only once the visitor hovers over the product image. The call-to-action buttons could use some :hover, :focus and :active states to make the buttons a bit more responsive. The horizontal product navigation pans across as the mouse nears the edge of the page. A nice example of how an e-commerce website can work with a minimal amount of text.

Telegramme Studio
Probably the most eye-catching detail in Telegramme Studio’s design is vivid, high-resolution product typograrphy displayed in the horizontal slideshow in the upper area of the front page. The slideshow might be moving a bit too quickly for some visitors. The grid remains consistent across the pages, always focusing on the designs produced by the agency. A nice example of a site on which high quality product shots are integral to each page.

Oi Polloi
Oi Polloi is small retail store based in the Northern Quarter, Manchester, UK. This website design is (again) in retro style, supported by the typewriter-style typograph and old print-style textures. They capture the Oi Polloi brand well. The navigation menu is a good old drop-down which doesn’t quite work, especially because the page has six of them on top. This requires a bit more clicks than you’re used to on an e-commerce website. When you roll over an item on a product page, a tooltip provides details about available (and unavailable) colours and sizes. It might be useful including these options in the search as well.

A Modern Eden
A Modern Eden sells posters and iPhone applications. The design also features a large horizontal slideshow area on which all illustrations have a nice shadow to make them look a bit more realistic. The fonts used are chosen carefully and used consistenly throughout the design. The shopping basket ribbon placed next to the main navigation in the right upper corner is a nice touch. Product pages are nicely designed, with attractive green call-to-action buttons. It’s interesting how the designers display the price tag: it’s put somewhat above the product item’s title with a red circle in the background.

Sky’s Guide Service
Sky’s Guide is a wonderful example of what a service website can look like with a quality set of textures and images. The choice of colors for design elements and body copy nicely complements the theme of the website and logo of the company (dark red and light brown). Call-to-action buttons are carefully designed to stand out against other elements and capture the user’s attention.

Notice a simple yet striking grid in the footer and a consistent use of fonts across the site. However, the site misses subtle hover effects to make the experience a bit more responsive. The font size of some texts on the site could be increased as well.

Patrik Ervell
Patrik Ervell demonstrates innovation at its finest. Category pages present a Flash video of the clothes being modelled on an actual male model, giving the customer a sense for how the clothing would actually look on them. The website also gracefully degrades to static images for browsers without Flash support. A very interesting take on the modern clothing website, and good use of white space. Unfortunately, the product page does not have a Flash video, although it might be a bit annoying if it did. The typography could be improved a bit to make the texts more readable and more pleasing to read.

Matthew Williamson
Designer fashion outlet Matthew Williamson demonstrates good use of fonts, contrast and high-quality images. The product pages allow users to zoom in and out to take a closer look at the shop items. Also, the product page provides a size guide, a delivery guide, a return guide for customers as well as comprehensive product details. The website does not feel particularly dynamic, though; the sidebar navigation has to reanimate after each page load. The splash page isn’t necessary, either. An example of how beautiful imagery doesn’t quite work when overall usability of the website isn’t good enough.

Paul Smith
The Paul Smith website has an elegant design that emphasizes the quality of the brand. There is something quite appealing about the simple navigation at the top, especially the logo and colored horizontal stripes. The main shop page has a bottom-top navigation (instead of the traditional drop-down) which is not quite intuitive at the first glance. What is striking is that each product page has plenty of high-quality product images which is unfortunately not that usual on e-commerce websites.

Chicago L-Shirts
Chicago L-Shirts is big and bold on Helvetica and the dark processed vintage illustrations. The website is unique and hits you straight away with the featured product on sale, which fills the entire background. What’s interesting is that the shop doesn’t really have an overview page on which all t-shirts would be presented. Instead, the visitor has to navigate using “Prev” and “Next” links. And actually, it works quite well, because there are not so many t-shirts to browse through. A nice example of a shop which makes sure that every product page has a strong photographic presence. Unfortunately, arrows in the navigation aren’t clickable and different views (e.g. side view) of every t-shirt isn’t available.

W+K Studio
WK Studio sells various stationary, t-shirts and children’s clothing. The color scheme is warm and friendly, and so is the stylish navigation and large product previews. Built on the BigCartel shopping cart, the shopping experience is pleasurable for a small store. Notice the lovely price tags shaped in the form of the heart which is an essential part of the studio’s logo. The color and typography of the body copy could be improved, and so could the typography. Very simple design that doesn’t look too simple because of the very well thought-out style and theme of the site.

Marie Catrib’s
Probably the most striking attribute of this website is its playfulness. The typography is inviting and attractive and makes the reading experience pleasurable. The navigation menu on the top is very simple, but nice; subtle use of texture fits nicely to the style of the website. Also, notice the dashed horizontal line on the top and the decorative ellipses spinned in the footer of the page. When you hover on an item on the products overview page, two additional navigation options appear: “More info” and “+ Cart” which is a nice example of a context-sensitive navigation. Great use of subtle colors, textures and bold fonts bring out the tastiness of the freshly baked bread and confectioneries offered at Marie Catrib’s.

Sanctuary T Shop
The landing page for Sanctuary T really helps to sell the brand and welcome customers. Best-selling teas are beautifully listed underneath the large eye-catching slideshow. New products are introduced using striking, pleasing and eye-catching illustrations. The site uses many colors (7 on the front page), and although they do fight for user’s attention, they actually never really get in the way. The typography is pleasant and inviting, however, mostly images are used to embed the fonts on the pages (and sometimes, Cufón is used). Notice how wonderfully the designers use tea cups to display the rating of every tea. Sanctuary T is a prime example of a website that brings the best out of square-edge elements and white space dividers.

Bohemia
There is certainly a lot to like about this website: the blended shades of blues, contrasting orange highlights, delicately patterned borders (complemented with an equally elegant choice of typography) and the subtle shadows on the roll-over navigation tabs. The design shows a lot of attention to small details, be it texture in the background or a “telephone” icon in the footer which works very well with the style of the site. The mega drop-down menu looks nice and stands out on hover. The page has a lot of whitespace, especially on overview pages and product pages and makes the shopping experience lightweight and easy.

Grenson
Grenson is exemplary for a very strong and consistent grid layout. The design is accentuated with red highlights. The most striking element of the website is the roll-over product previews on single product pages, which automatically zooms in and pans to wherever the mouse is. It’s quite a nice touch and removes the extra clicks required to zoom and pan. A clean and good design without distractions and unnecessary trickery.

Cow&Co. Superstore
Cow&Co demonstrates good use of interactive elements in the filtered navigation to make page selection a little more interesting. Adding items to the basket is quick and easy, and a lot of the navigation occurs without having to reload the page. The designers of the shop do not highlight “Add to basket” buttons, although it would actually make it just a bit easier if the buttons would stand out a bit more. The interesting part is that when you click on a product image on the overview page, the details are displayed on the right, without the page being reloaded. It’s hard to say if it’s a good idea or not: this behvaior might be a bit confusing for visitors who wouldn’t be able to locate the detail page. It would be useful to highlight it in some way when it appears after the click, though.

Dark Sky
Dark Sky’s website shows how dots can be used to build and structure the layout of the page. The typography is just wonderful: attractive, yet not too eye-catching to distract. Notice the whitespace in the vertical grid layout and on the product pages. Call-to-action-buttons have the same background color as many other elements on the page which may be a bit confusing at first. However, other colors probably wouldn’t work that well together with other elements.

RFRM
By itself, RFRM would be a very simple and not that remarkable website with handmade, vintage inspired jewelry. What sets this online shop apart from other sites is that the centrepiece of the website is the large window, or “hole,” that exposes the background layer image below. When you scroll the website, it feels like you’re looking out of the window — which looks very interesting and unusual.

Theo
This website doesn’t look remarkable, but it uses a nice design technique that helps it stand out. Each product page has a large seamless header that creates a large frame for the product. This allows for large product shots of background images that can be used on each page. Interesting idea that may find its place in your e-commerce website as well. The downside of the design is the not so comforable navigation: all navigation items are always hidden in the horizontal navigation on the top of every page.

Ben The Bodyguard
This website of an upcoming app for iPhone or iPod touch has been discussed a lot over the last months, and rightly so. The site is a remarkable example of how an original, innovative design can bring a lot of attention to the site that actually hasn’t been released yet. As you scroll the page down, Ben the Bodyguard is following you through the city, leaving comments about the neighbourhood and services he provides. There are also some tricks which become apparent if you try resizing your browser. Ben’s path ends at the e-mail subscription box. Wonderful idea, wonderfully executed. A wonderful example of storytelling. The Web could use more websites like this one.

In Conclusion

It goes without saying: large high quality product shots are a key element of success on e-commerce websites. JavaScript-based image slideshows of products, elegant rich typography and meaningful use of white space all enhance the shopping experience and increase conversion rates. Some good websites experiment with innovative design techniques, yet all good websites pay a lot of attention to the look and feel of every single design element, be it a shopping cart, search box or headings. We are looking forward to more beautiful and usable e-commerce websites appearing online in the months to come.

Symptoms Of An Epidemic: Web Design Trends

Since Elliot Jay Stocks so poignantly told us to destroy the Web 2.0 look, we’ve witnessed a de-shinification of the Web, with fewer glass buttons, beveled edges, reflections, special-offer badges, vulgar gradients with vibrant colors and diagonal background patterns. The transformation has been welcomed with relief by all but the most hardened gloss-enthusiasts. However, design and aesthetics work in mysterious ways, and no sooner does one Web design trend leave us before another appears.

The Symptoms

So, exactly what is this new epidemic? Well, let’s start by looking at some of the most common symptoms, many of which you have probably noticed. They are easy to spot, and as with many other conditions, they often appear in conjunction with each other. (This is why the contagion spreads so effectively — seemingly independent symptoms grow more infectious when combined with others.)

Please note: The following list appears in no particular order and does not indicate the level of infectiousness or severity, which seem to be stable across the board. Note also that the instances given often exhibit more than one symptom, making classification more difficult.

Stitching

Stitching appears gradually, often as a result of the designer playing too long with borders and lines, particularly of the dotted variety. A full-blown stitch is evidenced by the subtle shift from dots to dashes, augmented by drop shadows and other effects to give the impression of 3-D. The purpose of the stitch is somewhat elusive, but it seems to thrive in environments where certain textures are applied, most notably fabric and leather, but also generic graininess.

While determining the exact cause of stitching is difficult, scientists are certain that it belongs to a larger strain of the infection known as “Skeuomorphism.”

Collage of interfaces with stiches
Clockwise from top: The Journal of Min Tran; Dribbble shot by Mason Yarnell; Dribbble shot by Liam McCabe.

Zigzag Borders

Borders are common elements of Web design, and as such, they are difficult to avoid; luckily, they are usually harmless and often have a positive effect on the layout. However, for some reason, a particular type of border — the zigzag — has grown exponentially in the last few years and is now threatening the natural habitat of more benign border specimens. Exactly why this is happening is unknown, although some researchers claim that the pattern created by the repeating opposing diagonals has such an alluring effect on designers and clients alike that straight borders have somewhat lost their appeal.

Collage of interfaces with zigzag borders
Clockwise from top: You Know Who; Dribbble shot by Christopher Paul; Dribbble shot by Meagan Fisher.

Forked Ribbons

Like borders, ribbons have long existed in various forms. What we’re seeing now, though, is the near dominance of a particular style of ribbon, easily identified by a fork at one or both ends. Some ribbons are also folded over twice, creating a faux effect of depth and reinforcing the diagonal lines in the fork. Whether the fork is related to the zigzag effect is unknown, but it seems that diagonal lines are the key to the ribbon’s survival, along with its ability to evoke memories of times past.

The danger of the ribbon lies mainly in its ability to exist independent of other symptoms (although it thrives in the company of vintage typography), meaning that it could date your design long after the epidemic ends, even if the symptom itself appears dormant. In many ways, this is reminiscent of the “special offers” badge of the Web 2.0 look.

Collage of interfaces using forked ribbons
Clockwise from top: Ryan O’Rourke; Cabedge; Jake Przespo

Textures

In the age of all things digital, it’s a conundrum that textures should dominate our illustrations and backgrounds, and yet they are indeed one of the most common symptoms on our list. Manifested by subtle grain, dirt and scratches, paper-esque surfaces and fold marks, they seem to embrace the spirit of the handmade. But ironically, they’re often the complete opposite: computer-generated effects or Photoshop brushes.

Possible explanations for the widespread use of textures include a yearning for tactile media (especially considering the emergence of touchscreens) or envy towards print designers, who have a much richer palette of materials and surfaces to play with.

Collage of interfaces with textures
Clockwise from top: Gerren Lamson; Zero; Amazee Labs.

Letterpress

A Smashing Magazine article from 2009 outlined letterpress as one of the emerging trends of the year and, boy, were they right. The simple effect has gone from strength to strength and is now a household technique for sprucing up typography online. A relatively harmless symptom, letterpress might also have infected designers through other digital interfaces, such as operating systems and games, as early as the turn of the millennium, indicating a very long incubation period.

Scientists disagree over whether the incubation period is due to the infection needing a critical mass before emerging from dormancy or whether the infection simply needed the right conditions — CSS3 text shadows, to be specific — for symptoms to appear.

Collage of interfaces with letterpress
Clockwise from top: Billy Tamplin; Dribbble shot by Phillip Marriot; Remix.

19th-Century Illustration

After being released from copyright quarantine, this symptom, favoured by fashionable ladies and gentlemen, was nearly eliminated during the last epidemic due to its inability to cope well with gloss and shine. But in this new vintage-friendly environment, it has found its way back into our visual repertoire. For better or worse, the 19th-century illustration will most likely hang around for a while, emerging stronger from time to time like a flu virus.

Collage of interfaces with 19th century illustrations
Clockwise from top: Killian Muster; Dribbble shot by Trent Walton; Simon Collison.

Muted Tones

After a long period of vibrancy, the average online color scheme seems to have been somewhat desaturated across the board. We’re seeing widespread use of browns, earthy greens and mustards and a general leaning towards “impure” colors, although this is generally thought to be a minor symptom of the epidemic. Some scientists will even argue that muted tones are, in fact, not a symptom themselves but rather a side effect of other symptoms, in the way that sweating is a natural response to a fever.

Collage of interfaces with muted colours
Clockwise from top: Dribble shot by Dave Ruiz; Cognition; Web Standards Sherpa.

Justified or Centered Typography (JCT)

This symptom is nothing new; in fact, it was pretty much the standard for the first 500 years of typography, until Tschichold and the New Typography showed up and quarantined it on the grounds that it was old fashioned, difficult to read and inefficient. Although we’re not sure at this point, this link with history might be what has made JCT reappear so vigorously under the umbrella of vintage symptoms. We do know that overall reading habits among humans have not changed in recent years (most Westerners still read left to right), and there is no plausible argument that JCT improves legibility; so, whatever the cause of the outbreak, we know it’s rooted in subjective emotion rather than rational thought.

Collage of interfaces with justified or centered typography
Clockwise from top: Grip Limited; Tommy; Visual Republic.

Circular Script Logotypes (SCL)

A circle is a basic shape and, in isolation, is no more a symptom of an epidemic than a triangle. However, if you repeat enough triangles in a line, you get a zigzag. Similarly, if you include a circle in your logotype, you end up with a circular logotype. And if that logotype happens to be set in a script font, you’ll get — that’s right! — a Circular Script Logotype (SCL). Not that SCL is lethal or anything, but it is relatively contagious and can be highly detrimental when enough hosts have been infected.

Collage of circular script logos
Clockwise from top: Trent Walton; Mercy; Dribbble shot by James Seymor-Lock.

Skeuomorphic Features

Skeuomorphic features — i.e. ornamentation or design features on an object that are copied from the object’s form in another medium — are rife, particularly in mobile applications, and this symptom is one of the defining indicators of the epidemic. Possibly a mutant cancerous strain of mildly skeuomorphic features such as stitches and letterpress, it can sometimes grow to overtake an entire interface, bloating it with redundant visual references to physical objects and materials. However, due to the labor involved in preparing the graphics and the heavy reliance on image resources, some researchers argue that we’re unlikely to see full-blown skeuomorphism dominate our desktop browsers any time soon.

In fact, most scientists regard the phenomenon as a curiosity and predict that some virtual metaphors for physical attributes will prove useful (as tabs have) and some won’t. Interestingly, while Apple has embraced and continues to pioneer the technique, Google seems to some degree to resist the urge to mimic physical reality in its interfaces. Perhaps it has developed a vaccine?

Collage of skeuomorphic interface elements
Clockwise from top: iBooks; Dribbble shot by skorky; Dribbble shot by Igor Shkarin.

How Did It Start?

Pinpointing the epicentre of a design epidemic (read: trend) is always hard, especially given the myriad of symptoms and the contagious nature of the Internet. Identifying Patient Zero is virtually impossible, and, to be pragmatic, doing so would serve no purpose. What we can say is that we’re most likely experiencing a reaction to the Web 2.0 aesthetic — a craving for textured surfaces and retro imagery, something tactile and natural-looking, as an antidote to the shiny impersonality of the past — and that this is both healthy and necessary for pushing the design industry forward. Whatever the sources of trends, they often start with applying smart design to solve a particular problem or, indeed, to counter another trend.

Let’s say that everyone used sans-serif fonts, strong contrasting colors and crisp white backgrounds as a rule. Imagine, in this environment, if a designer went against the grain by using Clarendon or some other warm serif to infuse some personality into their website (which happens to be selling “Grandma’s homemade jam”), and then complemented the personality of their font selection with earthy colors and some brown paper textures. The result would inevitably stand out from the crowd: beautiful, emotional, different.

Incidentally, this aesthetic inspires another designer who happens to be working on a website with a global audience, exposing the new approach to a whole generation of designers who, in turn, apply it at will (often without considering the context). A trend is born. And yet, paradoxically, the potency of the epidemic is under constant threat. The more people get infected, the less differentiated the symptoms appear; and once the infection reaches a critical mass, the symptoms begin to work against themselves. Infusing personality into your visuals is meaningless if everything looks the same.

Is It Dangerous?

In today’s open collaborative world, avoiding an epidemic of this scale is difficult; so, in a sense, everyone is affected to some degree. The symptoms listed above are not restricted to small-scale up-and-coming designers, but affect even the elite of the design community. This means that even though some symptoms are harmless — like a light fever or a runny nose from a flu infection — the viral onslaught of trendy features puts constant pressure on our immune system to protect our creativity, and staying vigilant is important to maintaining a healthy dose of original thought.

If you’re displaying a handful of symptoms, it’s really nothing to worry about — catching a cold that’s going around is not hard, but recovering from it is also easy. If, on the other hand, you display most or all of these symptoms, then there’s reason to be extra cautious in your next project. Using all of a trend’s identifiers as cornerstones of your work might make your portfolio look oh so contemporary, but in a way this practice is no different than passing off the work of your favorite designer, artist or musician as your own. Granted, symptoms with no identifiable origin are not protected by copyright, but that’s beside the point — you should be worried not about legal implications, but rather about the creative integrity of your output. The danger is not only that your work will be seen as a passing fad, a popular aesthetic that will look dated in a couple of years’ time, but that you will lose the respect of your peers when they catch on to you.

While nothing is original, we all need to respect the difference between inspiration and imitation. As Jean Luc Goddard said, “It’s not where you take things from — it’s where you take them to.” And if you don’t take them anywhere, what’s the point?

Worse perhaps than the loss of respect and integrity is the effect that epidemics have on clients and, in turn, the design community as a whole. The more designers are infected and the more symptoms they show of the same disease, the less your clients will believe that you’re capable of solving real business problems. Eventually they’ll exclude you from the early stages (where all the real design thinking takes place) and employ your services merely to skin their wireframes, in the process reducing the whole profession to an army of decorators.

What Can You Do About It?

Now that we’ve seen how detrimental trends can be, how does one avoid them? Is this even possible? Trends, by definition, are popular, and arguably nothing is wrong with tapping into that popularity to increase the exposure of your product. Convincing a client to accept a design that is off-trend can be difficult, and you run the risk of alienating the audience by going completely against the trend just for the sake of it. On the other hand, blindly following others is never a good idea, and you could severely stifle your creativity, integrity and client base by accepting what’s “in” as a given and copying it without purpose.

So, what’s the right thing to do? Trends are intrinsic to our society, whether in politics, culture, design or even religion, and as the consensus sways in one direction or another, so will your opinion (or “taste”) — to some degree, at least. Alas, avoiding trends altogether seems an impossible and pointless undertaking, but that doesn’t leave you powerless. In fact, you can do a host of things to combat the lemming syndrome.

Ask Why

Always question your design decisions (and make sure they are your own), and keep asking the magic question, Why am I doing this? Am I doing this simply because it looks cool or because it suits the message I’m trying to communicate? Why am I using this ribbon? Does the zigzag border add to or detract from the personality of the website? What does this leather texture have to do with the finance app I’m designing? The moment you stop asking questions, you fall prey to the epidemic.

Put Some Effort In

In his article “The Dying Art of Design” Francisco Inchauste asserts, among other things, that inspiration requires perspiration, and I couldn’t agree more. I was lucky enough to attend a college where no computers were allowed in the first year, which meant we had to use physical tools to express ourselves — tracing letters by hand, drawing our photography, stocking up on Pantone pens (remember those?), abusing the copier. Not only did our creativity grow, but we learned an important lesson: good design is not effortless, and the best results come from your own experimentation.

Try Something Different

Remember that being distinctive is, for the most part, a good thing. Most great artists in history, regardless of their field, stood out enough for the world to take notice. Who painted melting clocks before Dali? Who would have thought to build a huge wall on stage before Pink Floyd? While mimicking what’s popular might be comfortable and might secure short-term victories, long-term success requires a unique, memorable approach.

Diversify Your Inspiration

In order to remain creative, staying curious and looking for inspiration all around you is crucial, not just in the latest showcase of fashionable WordPress themes. Read a book, perform a scientific experiment, listen to music you haven’t heard before, walk through a new neighborhood, or experience a foreign culture. Widening your horizons beyond your favorite websites and finding more than one source of inspiration is critical to making original, lasting designs.

Focus on the Basics

Finally and most importantly, study the underlying principles of design in order to understand what is and isn’t defined by style. Grid systems, contrast, legibility, juxtaposing imagery, well-written copy — these are the key components of successful design, yet they are entirely independent of fads and styles.

At the end of the day, design is not so much about style as it is about communication, and all style, imagery and typography should be inspired by the content, functionality and personality of the product, not by what simply looks cool at the moment.

No matter how cool something looks, it too shall pass.

Showcase of Interesting Navigation Designs

Everyone is always looking for interesting and effective ways to organize their website and allow users to move about and find things. But there’s a fine line between unexpected and unusable. Three points to consider in any navigation scheme are consistency, user expectations and contextual clues.

If page is long and provides different levels of navigation, will users be able to find their way through the site and use proper navigation quickly? Forcing visitors to use certain keystrokes to navigate, rather than what they’re used to, might be novel, but is that effective if you have to explain instructions prominently on your home page? Here are some examples for your reading pleasure.

Made by Water

A JavaScript-Powered Vertical Fun

The large bold headings and modern color palette on Made by Water feel fresh and fun. The grid layout is nice and clear, while the background texture is subtle but interesting. The icons at the top are visually appealing, and the animation makes them fun to click. It’s not immediately apparent what they are for, though. Some text would help to clarify that they are for navigation.

Made By Water
Vertical navigation buttons with icons.

The other problem with the navigation is the yellow “up” arrow that is displayed in the footer of the page. One would expect it to bring you back to the top of the page, but it leaves you more in the middle. The circle of stripes that follows you down as you scroll doesn’t match the background pattern, but we can’t tell if it’s part of the navigation. At any rate, we clicked it to no effect.

Finally, while the text at the top is fun and exciting, finding the “Who am I” section is a bit hard. It’s not immediately clear what the website is about.

Made in Haus

Horizontal Slideshow as Navigation

The large page keeps Made in Haus from feeling unoriginal, and the smooth motion is a bit different from many of the sliders we’ve seen. Bumping the accompanying text up into the body of each slide is a good way to keep it above the fold and visible as the user flips through the slides. The sliders on the sub-pages are also effective, being an easy way to skim through a fair amount of content. Also, nice hover-effects under the slideshow look attractive and give an insight into the work of the agency.

Made in Haus
Bold horizontal navigation.

One drawback is that the triangle on the far right of the upper navigation menu is a bit confusing. It appears to link to the home page, as a logo would, but we’re not quite sure why. Also, the arrow on the right side of the slideshow may be a bit too tiny, making it a bit difficult for users to navigate the slideshow. We’ve seen a similar navigation earlier, on Weightshift which is a nice example of an alternative implementation of this technique.

Foundation Six

Animated Text Scrolls Down With the User

Foundation Six features a few big bold screenshots at the center of the page, giving us the impression that they were interactive in some way. The first thing that we did was try to click on the screenshots, but nothing happened (except for the central one which links to the description of the project featured in the center of the page), which was a little frustrating.

Foundation Six Portfolio
Text moves instead of images.

The headings are large and very clear, and the type is handled nicely throughout. The color palette is very soft and clean, and it nicely matches the atmosphere of the site. The call-to-actions buttons are large and easy to find, read and click. The subtle hover effects in the upper navigation enhance the user experience, making it smooth. Additionally, the contact form tracks well and is nicely laid out, while the map is a nice touch. The company scores bonus points for linking to Bring Down IE6.

On the projects page, the way the explanatory text slides down instead of the images is original. But being so unexpected, it could be a little disorienting, which may or may not be a good thing: is explanatory text really the best place to make a statement with moving parts?

Word Refuge

Textual Content in a Horizontal Slider

Word Refuge features an old-fashioned bookish vibe. Because it is a copywriting service, this seems appropriate. The contact form is prominent, easy to find and easy to use. The logo is also nicely done, and the color palette is rich and regal.

Word Refuge
Various arguments for the company are organized into slides.

One small point is that the tag lines in the main navigation are effective under some of the menu items but not under others. Some of them feel redundant, as if they’re there only to balance things out. As a rule, if text doesn’t add any explanation, it shouldn’t be there. That said, the text throughout the website is nicely kerned, and while the page is wordy, the text is easy to skim through and read.

Relogik

Animated Horizontal Slideshow Navigation

Relogik is another example of minimalism done well. The logo is understated and sophisticated. Most design elements are semi-transparent and appear on hover. The close-up images are bold and make the content the focal point of the page. The code is clean and well-structured and uses a solid grid layout with pulls to keep everything squared up.

Relogik Design & Innovation
Sliding horizontal navigation.

The classic numeric navigation makes it easy to navigate the slideshow. One weakness is that the contact information has a very low contrast against the background. A darker color would help to highlight it. The project detail pages do a good job of showing rather than telling and of displaying each piece in a real-world context.

Drexler

Horizontal Navigation… If the User Follows Instructions

The horizontal navigation on Drexler works both with the arrow keys and mouse clicks. On the first glance, it’s not clear how to navigate the site: you need to either read the hint in the upper area of the site (“User your arrows”) or experiment with the design to figure it out. To browse blog posts, users need to click on the illustration of the post or use keyboard arrows. The design itself is visually appealing, but the navigation scheme isn’t straightforward.

Drexler
“Use your arrows” to navigate.

The retro color palette and big bold fonts make the website colorful and energetic, but they also might be a little overpowering. The “t” for Twitter in the upper right is an interesting break from the usual little bird, but the downside of breaking with convention is that you might lose clarity. We didn’t know what the icon was for until we clicked it, and we probably wouldn’t have clicked it if we were merely visiting the website as a normal user. The contact button is amazing indeed, as it claims. The multi-column contact form is an interesting take on the email form. It seems effective, and it tracks very well. This is a design that needs to be explored to be understood — but maybe it was the intention of the designer in the first place?

The logo is simple and clean, but again, it adds a note of confusion. The yellow underline on mouse-over feels unbalanced, because the rest of the logo isn’t highlighted. One other thing to note is that the page changes color to match the project being displayed. This is an unusual take on the portfolio. Usually, projects are displayed uniformly, sometimes to the point of being indistinguishable. This approach makes the projects stand out, in a good way.

Komrade

Vertical Navigation With a Twist

This page allows users to forge their own path through the website. Komrade features original illustrations, a fresh color palette and an original “Choose Your Own Adventure”-style navigation scheme. The navigation has the following cracks in it, though:

  1. The light blue text looks like it’s hyperlinked. One of the first things a user sees upon loading the page is the blue “Who’s Komrade” heading. The first thing we did was click it, but nothing happened. This started the user experience off on the wrong foot. With this unusual scrolling navigation, distinguishing the clickable from the unclickable is extremely important.
  2. The numbered navigation for Komrade’s past work does not stand out enough. The red circles look like yet more flowers, which caused us to pass over them several times before figuring out that they were the navigation. This goes back to the clickable/unclickable issue. Well-placed labels would go a long way here.

Komrade Web Design
“Choose Your Own Adventure”-style navigation.

All For Design

Scrolling Navigation and “Shelf”-Navigation

All For Design feels light and airy, with its crisp woodcut headings and subtle effects such as the Twitter icon that flies on hover. The design os single projects pages is especially nice, making clear exactly what was involved in each project. The section “some inspiration” nicely puts books, useful websites and articles on a “shelf” and has subtle shadow- and hover-effects. The only problem is that the title-attribute is displayed on hover together with the screenshot which makes it a bit difficult to focus on one of them.

All For Design
“Shelf”-navigation.

All For Design
Calendar next to the contact form.

The calendar next to the contact form is also a great idea: it sets expectations and makes it easy for potential clients to plot a timeline. While the font is scannable, it still feels a bit too wordy overall, although the shadow effects, subtle borders and custom icons keep the eye flowing down the page.

Digital Labs

Horizontal or Vertical Navigation?

With the prominent screenshots on this website, one would think the page would have horizontal navigation; in fact, the page is static. Digital Labs uses a wide layout, with a nice textured background. The dark colors make it feel spacious without being too spacey. One issue, though, is that the orange ribbon on the right looks like it should be clickable, but it isn’t. The text-based social media widget, which responds to mouse-over, is an interesting touch. The web design scene is full of social media icons, so a text-based widget stands out.

Digital Labs Portfolio
The static screenshots above look like a slideshow.

The other issue is that the “Are you ready to get started?” link at the bottom is a mailto: link, rather than a link to a contact form. This is acceptable, but a drop-down form in that space would really kick things up a notch.

Calobee Doodles

Classic Thumbnail and Lightbox Combination

Calobee Doodles, an illustration-based portfolio website, has fun details, such as the objects and people falling from the sky. The cloud menu items could be clearer, though. At first, we were not sure what “Custom” stands for (it stands for custom design and illustration work). However, the menu benefits from descriptive tooltips and appear on hover. Still, a different wording, for instance “Work”, would have been clearer.

Calobee Doodles
The website uses the classic thumbnail and lightbox navigation.

A thumbnail gallery is a common way to display work, but in this case illustration thumbnails are a bit too small, and they are linked to images. A lightbox may work better in this context. The bottom-up-navigation may be useful for some readers, and the footer is truly remarkable. Also, it would be nice to remove dotted lines appearing on click in the navigation menu. A simple outline: none; for links with proper styles for :focus and :active states would suffice.

Build

Classic Top-Level Navigation

While the overall layout of Build is clean and modern, the content could stand to be more easily scannable, for two reasons for this. A look at that code suggests that the margins and padding are a bit arbitrary. The padding for the main body conforms to a design pattern, but the major content elements do not. Maybe it would be a good idea to use multiples of a set base number for the margins, padding and borders, so that there is a consistent ratio throughout.

Build
Classic top-level navigation.

Secondly, the contrast of the text in the content sections has some problems. The contrast between strong white and strong grey background is very striking, and maybe a bit too strong. The second part of the page looks a bit busy and a bit difficult to scan, probably because the colors of the headings and descriptions are very similar. Maybe if the headings were kept as a serif, the content blocks could be distinguished a bit by making the text lighter and using a sans-serif font. Some textual variation or typographic work might add visual interest as well. Subtle hover effects for links are attractive and fun to click on: nice touch!

We liked the listserv sign-up widget in the footer of the page. A sample email in the relevant field, along with more space on the line, could be a helpful, though. Also, an explanation of what exactly users are meant to type here would be great — for instance, a sample e-mail in the input field. Also, the mouse pointer should change after you click on the submit-button, but in this case it doesn’t. We fumbled a bit at first until we looked at the code.

Mail Chimp

Graphics-Heavy Vertical Page With No Navigation Other Than Browser Scroll Bar

Mailchimp’s promo page is a visually appealing website with a lot of interesting vintage graphics. Some real strengths of this website are the many interesting textures and patterns. The color scheme is modern and appealing. There are, however, a few usability problems. First, there is actually no navigation. We’re as big a fan of shedding unnecessary conventions as the next guy, but if we were an existing customer visiting this website, we would have no idea what to do. The “Sign in” link is obscured at the bottom of the page, with few visual cues to reward the user’s patience as they scroll down. Even a few small links at the top would add some structure and provide some cues for navigation, which would make the whole website make more sense.

Mail Chimp Social Promotional Site
Graphics-heavy vertical website.

Secondly, the edgy graphics, while fun and visually interesting, don’t give much sense of what the main point of the page actually is (if you are visiting the site for the first time). The primary message is only delivered in the paragraph towards the middle, and even it is a bit hard to read, with the small white text over the shades of gray. The paragraph would be more effective if it were bigger and had more contrast. The promotional videos are really great and remarkable, though.

Pline Studios

Minimalism in Vertical JavaScript-Based Navigation

Pline studios is an architecture firm, so it makes sense for it to have a spacious vertical layout with graphic touches that are reminiscent of CADD drawings. The big headings are clean and visually appealing and do a great job of leading the eye around. In an unconventional navigation scheme, making it clear where to click is critical, and this website makes it extremely clear. The navigation is repeated in each section, so the user is never stranded and left to scroll.

One problem, though, is the project descriptions; so much focus is on the images and animations that there’s actually very little explanation about the projects themselves.

Pline Studios of Architecture
Minimal vertical navigation.

Transformology

Persistent Toolbar-Navigation

Transformology shows another way to handle navigation on a vertical page. When the user scrolls the page, the navigation menu at the top of the site changes accordingly. The elaborate headings in the text blocks are visually appealing, but almost to the disadvantage of the content that should be showcased. The headings make the content easy to see but more difficult to read. The website has a clean, solid grid layout, but it may not always do an effective job of displaying the content, which sometimes feels overpowering.

Transformology Portfolio
Static navigation follows wherever you go.

Burton

Sliding Captions and Tabbed Boxes in a Vertical Layout

The first thing we noticed about Burton is the nice visual details, such as the animated eyes on the “Search and Destroy” search box, and the animated GIF on the mouse-over logo. The jigsaw layout is clean, bold and easy to scan. The mouse-over labels are a good way to display details without overwhelming users with text, and the mini-tabbed layouts inside the content blocks keep things clean and minimal. All of the content is available without being visible all at once.

Burton Shop Site
The scrolling vertical navigation is aided by the jigsaw sections with sliding captions.

A problem with the navigation, though, is the up and down arrows on the side of site’s pages. We expected that they would allow us to move up and down the page; instead, they pop out a text-based navigation menu. Not knowing what sections of the page correspond to the labels (for instance, when you visit the page for the first time), this isn’t very useful. Still, overall very nice, original and memorable design.

New Adventures in Web Design

Fun Shapes That Feel Like Navigation

At the first sight, the interactive shapes in the middle of the New Adventures page feel a bit like navigation, in that they change as you move through the website, providing cues that the page has changed. New Adventures is an example of a clean and solidly structured design. The rainbow of dynamically transforming shapes is fun and original. Adding more color could make the design a bit stronger; the brown palette is calm and professional, but it probably could have been be more interesting with some accent colors.

New Adventures in Web Design
The shapes move all over the place!

The typography overall is effective, and the line heights and margins make the information very clear and concise. An interesting touch of the design would be to highlight the speaker’s photo when a user hovers over his or her name in the list of speakers. Also, when trying to return to the front page, we clicked on the text logo in the left upper corner (“New Adventures in Web Design”), but it isn’t clickable which is a bit confusing. We had to use the small “Home”-link in the upper left corner instead.

Christopher Kaufman

Wide Horizontal Slider With a Difference

On Christopher Kaufman’s page, the sub-content panels slide up as the slider moves left to right. The layout is clean and organized, the background is colorful and unique, and the slideshow adds plenty of eye candy. The logo is minimal but detailed, and the top-level navigation is clear and effective. One drawback is that the background image is a pretty big file; as it loads, it creates a flashing effect that can be disorienting. One could argue that the height of the slideshow is optimized for larger screens; but scrolling through the slideshow content, some users can see that the content below has changed, yet have to scroll down to read all of it. This isn’t necessarily a big issue, but the slideshow panels could be a bit shorter.

Christopher Kaufman's Portfolio
The wide horizontal navigation forces users with small screens to scroll.

Chapolito

Another Example of Tabbed Navigation

Chapolito is really a unique website. The footer animation catches the eye right away, and the abstract shapes in the top-level navigation are original, as is the way the logo is integrated in the navigation, which keeps the brand as a focal point. We do have a suggestion for the sub-navigation in the portfolio section, though. The circles-as-progress indicator probably works best for slideshows of about five pieces of content or fewer. With such an extensive showcase, the user might get lost and not be able to find a particular project again. If numbers were in the circles, that would help.

Chapolito's Portfolio
Interesting top navigation.

Flywheel Design

Sliders and Graphic Tiles That Flip on Mouse-Over

Flywheel Design gives a good overview of its work right on the home page. The hover-over navigation is fun and gives users an incentive to mouse around and explore. The background is simple without being boring, making this a good example of minimal design. One problem for us was the slider navigation on project sub-pages: almost too minimal, because it took us a while to figure out it was there. Making it a little bigger or adding a splash of color might help.

Flywheel Design
Flip-tile style navigation.

Wishbone Design

Flash-Based Animated Navigation

Wishbone Design is created for kids and parents, so it makes sense for it to be fun and full of Flash animations. The navigation is entertaining but a little hard to use. Having the sub-elements open on hover seems to be the root of the problem; changing it to a click might give users a greater sense of control. Hover navigation should be as speedy as possible. The main slideshow is eye-catching, but you really have to dig to figure out that this is actually a company manufacturing bicycles (among other things). An explanatory blurb or even some slides would help new visitors. Another problem: if you’re going to have audio, please give users a way to turn it off! Overall, the site is truly remarkable, with attention to details. Nice work, this is what Flash is supposed to be used for!

Wishbone Design
Flash-based navigation.

Basmatitree

Flash-Based Animation That Could Be Navigation

We can’t lie: on first arriving on 60 mq missione casa, we were really hoping that the spoons were the navigation. We were sad to find out they aren’t. That said, this is a pretty fun layout for a food blog. The typography could benefit from some more variation, though. Also, the posts would be easier to scan if some texture or color variation were added to the columns.

Basmatitree Blog
Flash-animated spoons are fun!

Minus Five

An Entirely Horizontal Sliding Website

Horizontal navigation can be problematic. In this case, though, Minus Five is larger than life and colorful. The hover-over “Forth” and “Back” controls are large and easy to see, making it abundantly clear where you can click and what you are supposed to do, and avoiding one of the common drawbacks of unconventional navigation.

Minus Five
Entirely horizontal navigation.

For a portfolio, one thing that could confuse users is that the featured websites are not linked to anything. Using images embedded in a Mac frame to convey that they are websites is a good idea, but they make it a little hard to see the details in the designs. Another questionable design choice is positioning the portfolio pieces to the right of the background image. This makes it feel as though the background is the focus, instead of the portfolio pieces themselves. Also, the page is difficult to browse if you don’t have a proper wide screen display, because you see only small chunks of the site at once.

Retinart

Completely Text-Based Navigation

Retinart is a lovely example of a typography-focused website. The nice, even gutters and margins are relaxing on the eyes. One thing that’s a little unexpected is that the “Feedback” tab on the left side doesn’t pop out from the side (as most users would expect), but rather opens a modal window.

Retinart
The beautiful typography goes well with imaginative language.

Notice the careful attention to language. In conjunction with beautiful type, a designer can really take it to the next level by using beautiful language to emphasize the quailty of the site.

Collision Labs

Classic Tabbed Navigation

Collision Labs is energetic. We immediately wanted to take this design firm’s advice and fasten our seat belts! The large header block is exciting without being overpowering. The portfolio sub-pages are clear and do a good job of both telling and showing what the projects were about. The typography, though, is a little uniform. One thing that confused us was the Twitter icon in the footer navigation: the bird flips upside down on hover. We couldn’t really see the reason for this, so it felt vaguely unsettling. Overall, though, an effective website, and a good example of judicious and not excessive icon usage.

Collision Labs
Bold color and traditional navigation.

Summary

In sum, navigation is as much about communicating instructions for finding content as it is about being fun and interesting. There are some points to take away. For instance, if something is clickable, make sure it looks clickable. If it’s not clickable, make sure to communicate that, too. Also, be fun without being confusing. And show, don’t tell. If you have to tell users what to do, then the navigation has failed. After all, the crucial attribute of any truly exceptional website is both aesthetics and the usability of its navigation.

10 Useful Web Application Interface Techniques

More and more applications these days are migrating to the Web. Without platform constraints or installation requirements, the software-as-a-service model looks very attractive. Web application interface design is, at its core, Web design; however, its focus is mainly on function. To compete with desktop applications, Web apps must offer simple, intuitive and responsive user interfaces that let their users get things done with less effort and time.

In the past we didn’t cover web applications the way we should and now it’s time to take a closer look at some useful techniques and design solutions that make web-applications more user-friendly and more beautiful. This article presents the first part of our extensive research on design patterns and useful design solutions in modern web applications. Below you’ll find a collection of 10 useful interface design techniques and best practices used in many successful web-applications.

1. Interface elements on demand

Simplicity is important in user interface design. The more controls you display on the screen at any time, the more time your users will have to spend figuring out how to use your interface. When there is less choice, the available functions become more apparent and are easier to scan. Simplifying an interface isn’t easy though, especially if you don’t want to limit the app’s functionality.

Kontain search
When you click on the search link in Kontain’s search box, a similar drop-down menu appears. So, if you need to narrow your search, you can use the menu to select the sort of content you’re looking for. Tucking these options away simplifies the search box.

One way of making things simpler is to hide or conceal advanced functionality. Find out the most commonly used functions of your interface and tuck away the rest. You can do this with pop-up menus and controls, which are very common on desktop software. For example, if your search bar has advanced filters, put them away in a special drop-down menu at the end. If users need those filters, they can enable them with just a couple of clicks. Deciding what to keep and what to conceal isn’t a simple task, though, and will depend on how important and how frequently used each of the controls is.

CollabFinder search
When you click on the search link in CollabFinder, you aren’t taken to a different page. Instead, the search box controls drop down, allowing you to begin your search straight away.

2. Specialized controls

It’s important to select the right interface controls for the situation. Different situations can be handled in different ways, and certain controls are better at their intended task than others.

Backpack calendar picker
Backpack has a compact calendar date and time picker for selecting a reminder date.

For example, you can select a date by using drop-down lists for day, month and year. Drop-downs aren’t very efficient, however, when compared to a calendar picker, where you can click directly on a day you want. Calendar pickers also help you see the days, weeks and months (and especially workdays and weekends) more easily and so allow you to make a more informed decision more quickly than you would with a simple drop-down list.

MyBankTracker APY Calculator
MyBankTracker’s APY calculator features easy-to-use slider controls for quickly trying out different projections.

Another good example of this are sliders. Yes, you can always input a number manually, but for certain situations, slider controls do a much better job. Not only are they easy to use — just click and drag — but you can also see how your selection fits between the minimum and maximum of an available range.

3. Disable pressed buttons

One of the problems Web applications encounters with forms is the submission process. With very simple forms, if you click the “Submit” button twice or more very quickly, the form will be submitted two or more times. This is obviously problematic because it will create duplicates of the same item. Preventing duplicate submissions isn’t very hard, and it is essential to do this for most Web apps.

There are two tiers to this safeguard: client-side and server-side. We won’t go through the server-side safeguard here because this will vary depending on the programming language you use and your back-end architecture. What you should essentially do is put in a check to ensure during the processing stage that whatever is being submitted is not a duplicate, and if it is to block it.

Yammer disabled button
Yammer disables the “Update” button while your new message is being submitted.

The client-side stage is much simpler. All you have to do is disable the “Submit” button the very moment it is clicked. The easiest way to do this is to add a piece of JavaScript to the “Submit” button like this:

<input type="submit" value="Submit" onclick="this.disabled=true" />

Of course, we would advise you to also implement server-side checks to be sure that duplicates don’t get through.

4. Shadows around modal windows

Drop shadows around pop-up menus and windows aren’t just eye candy. They help the menu or window stand out from the background by reinforcing its dimensions. They also block out the noise of the content beneath the window by darkening the area around it with a shadow.

This technique hat its roots in traditional desktop applications and helps the user to focus his/her attention on the appearing window. Since most modal windows aren’t as easy to distinguish from the main content as in desktop applications, shadows help them to appear closer to readers, because the window appears to be three-dimensional and lay above the rest of the page.

Digg login window
Digg’s log-in window has a thick shadow around it to block out the noise of the page beneath.

To achieve this effect, designers often create a container with a transparent PNG-image as background and place the content inside the container – with equidistant padding on all sides of the box. Another option is to use a background image with transparent borders and position the content box within this box using absolute positioning. This is exactly what Digg does — this is the image they are using (dialog.png). And this is the markup and CSS-style they are using:

(X)HTML:

	<div id="container">
		<div style="display: block; top: 236px; opacity: 1;">
			<div>
        		<div>
        			...
        		</div>
        	</div>
        </div>
      </div>

CSS:

01 .dialog {
02     position: absolute;
03     left: 50%;
04     margin-left: -315px;
05     width: 630px;
06     z-index: 100001;
07
08 }
09 .dialog .body {
10     background: url(/img/dialog.png) 0 0; /* semi-transparent .png image */
11     padding: 40px 13px 10px 40px;
12 }

Alternatively, you can also use JavaScript-based lightboxes or drop shadows using CSS3-attributes we’ve described earlier, but you need to be aware that Internet Explorer won’t support them.

Basecamp project switcher
Basecamp’s project switcher window has a large soft drop shadow that helps the menu area stand out.

5. Empty states that tell you what to do

When you’re designing a Web application, it’s important not only to test it with sample data, but to ensure that it looks good and is helpful when there is nothing there yet. You should design the empty states.

When there is no information for a page or query yet, a helpful message telling the user how to start could go in that empty space. For example, a project management application’s home page may list the user’s projects, but if there are no projects yet, you could provide a link to the project creation page. Even if there is already a button to do that on the page, an extra bit of help doesn’t hurt.

Campaign Monitor empty state
Campaign Monitor points you in the right direction when you start building an email campaign.

This technique encourages users to actually try out the service and proceed directly with using the service after registration. Guiding the user through single steps of the application may help him or her to understand what advantages the application offers and if it’s useful or not. It is also important to present most important options to the users and only them — it doesn’t make sense to overflood them with numerous options. Keep in mind that users usually want to get a more or less concrete idea of what is offered to them, but they don’t want to jump into details — they have neither time nor interest in it.

Using empty states to motivate users and animate actions, you can significantly reduce the amount of “drop-outs” and help your potential clients to gain a better understanding of how the system works.

Wufoo empty state
Wufoo’s forms page has a large, friendly message inviting you to create a new form if none yet exist.

6. Pressed button states

Many Web applications have custom-styled buttons. These are anchors or input buttons that have custom images assigned as their backgrounds. The default input buttons may not be suitable in some cases, and the text links are sometimes too subtle. The challenge is, when you make your links look like buttons, they should act like buttons — and this includes having a “pressed” look when the user clicks on them.

This isn’t a purely visual tweak. Giving instant feedback to the user will make the application feel more responsive and bring the experience closer to what the user experiences on desktop applications.

You can add a pressed button state with CSS by styling the active pseudo-class of the link in question. So for example, if your anchor has the class add_task_button, you can style its active class by targeting add_task_button:active.

Highrise button pushed
Buttons in Highrise actually show a pressed state when you click on them, providing the user with a satisfying responsive feel.

7. Link to the sign-up page from the log-in page

Some people who haven’t yet signed up to your application will inevitably end up on the log-in page. They likely want to try out your application but can’t find the registration page in a hurry. Perhaps they’ve tried accessing a feature that’s only available to registered users.

Delicious sign in
Don’t have a Delicious account? No problem; a sign-up link is provided on the Delicious log-in page.

Goplan sign in
Goplan has a nice colored button on the log-in page pointing to the sign-up page.

Make things easy for these folks by placing a registration link on your log-in pages. If they haven’t got an account yet, they shouldn’t have to look for a registration page. Our studies confirm: 18% have a sign-in form or a link to the sign-in form placed next to it (e.g. YouTube, Reddit, Digg, Lulu, Metacafe).

8. Context-sensitive navigation

It’s important to think about what the user expects to see and what they need in every given context. You don’t need to display the same navigation controls everywhere because users simply may not need them in every situation.

One of the best examples of context-sensitive controls is the recent change in the Microsoft Office 2007 interface, in which the default set of toolbars was replaced by ribbon controls. Each tab on the ribbon holds different controls relating to a particular activity, be it editing graphs, proofreading or simply writing. Web applications can also benefit from such context-sensitive controls because these controls help unclutter interfaces by showing only what the user needs, not everything that’s available.

Lighthouse sub-navigation
Lighthouse features a familiar tabbed navigation menu; however, it also has a second level of menus right under the set of tabs. This level displays only the items associated with the active section of the website.

9. More emphasis on key functions

Not all controls hold the same importance. For example, on a screen for creating a new item, you may have two buttons: “Create” and “Cancel.” The “Create” link is more important because that’s what the user will be doing most of the time. Only rarely will they need to cancel the screen. So if these controls are located side by side, you may not want to give both the same emphasis.

Lighthouse create or cancel
The “Create ticket” button in Lighthouse. You can see the “cancel” link next to it, in plain text. The button not only commands more importance but also has a larger clickable area and is easier to spot because of its frame.

To shift emphasis to the “Create” link, we can simply use different styles or types of controls. Some applications use the form input button for the create action, and have the cancel action as a text anchor. This not only gives the create button more clickable area, it also helps to grab the users gaze better when they’re looking for it.

10. Embedded video

While pictures and text are a great way to communicate and teach your users about your app’s features, video can be an even better alternative if you have the resources to produce it. Video has been gaining popularity on the Web in recent years. For Web apps, videos are generally used on the marketing website as a kind of screencast to show off a product’s features; however, this isn’t the only way to use video.

GoodBarry video
GoodBarry features a video screencast on its front page showing off the product. It also uses screencasts inside the app to teach people on how to get started.

Mailchimp video
MailChimp includes tutorial videos right on the admin panel to help out new users.

Some Web apps use video inside the application itself to teach users how to use certain features. Video is a fantastic way to quickly demonstrate how your product can be used, because it is easier to consume than a page of text, and it is also much clearer because the viewer can see exactly what to do.