Get Online Fast money tips: April 2014

Selasa, 29 April 2014

Communicate Efficiently By Reducing Realism - Vanseo Design

Communicate Efficiently By Reducing Realism

Posted: 28 Apr 2014 05:30 AM PDT

The world around us contains a lot of visual noise. It’s great to see, but all that visual information has to be processed even the parts we’re not interested in. You can help speed processing by removing noise and reducing realism.

The last few weeks we’ve been looking at visual perception and the design principles that arise from it. Today’s agenda is about how reducing realism can speed visual processing and improve comprehension.

As I’ve mentioned a few times, this series comes mainly from the book Visual Language for Designers by Connie Malamed.

Simplicity Speeds Processing

You have the option with every graphic you create and every site you design of choosing an aesthetic somewhere on the scale between hi-fidelity photorealism and a lo-fidelity abstraction that lacks details and realism.

Which is best depends on the message you’re trying to communicate and the characteristics of the audience you’re attempting to reach. As you can guess from the title of this post, we’re going to focus on the lo-fi abstract here. There are some good reasons for using graphics with reduced realism.

They lead to quicker comprehension
They strengthen the impact of a message
They focus attention on the essential details
They’re useful in giving explanation to beginners and general audiences

Because there are less details to take in, reducing realism leads to more efficient visual processing. Less details make it easier to find and process important information. Less information to process means less information needs to be held in working memory, which leads to less cognitive load.

People can identify objects in line drawings as easily as they can identify the same objects in photographs

Irrelevant information that might otherwise delay processing is removed. The data becomes easier to process and integrate with data held in long-term memory.

When our eyes first look at a graphic we scan it for primitive features and then for complex information. When designers reduce realism much of the complex information is removed. That makes it quicker and easier to find the primitive features.

Our brains do some of this anyway. They remove the non-essential in order to focus on the essential and they store minimal representations of the information taken in. By reducing realism in our designers we’re complementing the natural process.

Because we’re removing details, the primitive features we choose to emphasize have greater impact on the message being conveyed. It’s important to choose how many and which features to emphasize as well as how much emphasis is given to them. Some details are less realistic than others.

Hard shadows are less realistic than soft shadows
Smooth surfaces are less realistic than rough surfaces
Sharp contours are less realistic than transitions
Geometric shapes are less realistic than natural shapes

How to Reduce Realism

Reducing realism in a design is a process of selective abstraction. You focus on the essential message and remove extraneous details that don’t contribute to the essential. The end result is an idealized version of the real thing.

Viewer’s fill in missing details from prior held information. They’ll fill in the details from the schemas and mental models they hold and use those details to help recognize what the idealized versions represent.

How might we remove details?

Remove Visual Noise

Reality isn’t perfect. I’m sure you’ve learned that by now. Our visual environment contains dirt and scratches, dust and smudges, and all sorts of imperfections. Removing these imperfections from an image leads to the perception that the image is less realistic.

Adding imperfect details adds realism, but also distracts from the message. When visual noise is present a person may focus on unintended patterns. Accidental patterns and inessential details make the essential and meaningful harder to find. By removing visual noise we increase the signal-to-noise ratio of our design.

A few things to avoid if you want to stay away from visual noise include:

high-contrast surface textures
gradated regions of color
illusions of depth
detailed or patterned backgrounds

We can minimize visual noise by reducing extreme variations in textures, by using flat and uniform areas of color, by using less shading, and reducing any interference from backgrounds.

Use Silhouettes for Quick Perception and Comprehension

A silhouette shows the form of an object through outline, shape, and a uniform color. There is no detail otherwise. The shape of the object is enough to recognize it. When the silhouette is a faithful representation of the object it leads to quick perception and comprehension.

Shape, gesture, and context allow you to create expressive silhouettes even with the lack of detail. It becomes the visual equivalent of a generalization and conveys the sense that all objects of a type are represented by the silhouette.

Because they have few features they can be hard to perceive at times. It’s possible the shape is difficult to distinguish from its background making it difficult to determine figure/ground relationships.

You can help in figure/ground recognition by keeping backgrounds simple and formless. Don’t allow negative space to encroach on the silhouette. You can also decrease the size of the silhouette as smaller objects are typically seen as figure.

Use Iconic Forms for Faster Communication

Iconic forms are more than shape and contour. They can use features such as lines and color to capture essential characteristics of objects and concepts. Icons are highly distilled and stylized representations of something.

The meaning of icons must often be learned or deduced and many are culturally dependent. Once learned, icons promote cognitive efficiency. They minimize visual processing and their meaning tends to be more memorable.

Context is a strong contributor to the meaning of icons. For example several concentric curved lines could represent a rainbow, wireless service, or an rss feed.

Some iconic forms resemble objects and have meaning. Others have an associative value and are considered symbols. Interaction Design Professor, Yvonne Rogers suggests a system for user interface design that categorizes icons by how they depict the concept they represent.

Resemblance icons — are direct likenesses of the objects they represent. (camera icon for a camera app)
Exemplar icons — depict a common example of the class of objects they represent. (trowel and rake to represent gardening)
Symbolic icons — convey a concept at a higher level of abstraction than the object depicted. (cracked wineglass to indicate something is fragile)
Arbitrary icons — have no relationship to an object or concept and their association must be learned. (computer on/off power button)

Icons quickly communicate and are easily remembered. They work well for things like maps and signs were quickness of understanding is important and for reference material where remembering is important.

Use Line Art to Evoke Closure

Our brains can quickly determine linear features in an image, design, or scene. When scanning an object most of our visual activity occurs at the edges or contours. This suggests an outline is enough to convey meaning.

We can reduce realism through line drawings that focus on an object’s outline. With just a few line strokes, a bit of tonal value, and depth cues, both shape and essential details can be communicated.

The gestalt principle closure tells us that when we look at an arrangement of individual elements we look for a single recognizable pattern made from all of them. We organize the individual lines into whole shapes.

Line art appears simple, but can communicate a great deal of information. Lines are good at depicting the human figure and work well for technical drawings or explanatory graphics. They provide the necessary details and omit everything else. Line drawings are effective as illustrations in documentation and textbooks. They work well in infographics and they work well in assembly instructions.

People can identify objects in line drawings as easily as they can identify the same objects in photographs, but the line drawing works better when it comes to making the information memorable.

Line drawings should focus on the essential and remove any visual noise. They should also capture contours and prominent features. Viewers will then add their own knowledge of real world objects to interpret what they see.

Reduce Quantity for Greater Visual Impact

As I’ve mentioned a few times,the real world contains a lot of complex visual information. Reducing the quantity of information in our designs reverses what we naturally see and reduces the perception of realism.

If we limit the number of images, lines, shapes, and other elements, we allow visitors to focus on the essential. By reducing how many elements are present we reduce what needs to be visual processed and keep working memory from being overwhelmed. This lowers cognitive load and means less information needs to be integrated and stored.

Limiting the number of elements present increases the visual impact of those that are present. Each stands out more giving it a greater ability to communicate than if it had to compete for attention.

Remove what can be removed. Ge rid of visual noise for quicker and clearer communication. Organize what needs to stay. Viewer’s will see fewer groups than they will elements, reducing the perceived quantity of objects.

Summary

There’s a lot of noise in our visual environment and it takes time and effort to process all that information. Some can get lost and viewers might spend too much time and effort processing mostly irrelevant information.

Designers can reduce cognitive load and aid comprehension by removing the less than relevant details. We can reduce the realism in our designs to help speed visual processing.

By reducing visual noise, making use of silhouettes, icons, and line art, and reducing the amount of elements in a design, we can save visitors time and effort as they take in our work. The result is a design that quickly and effectively communicates and is more easily understood by those who encounter it.

Next week we’ll continue with some talk about how we can make abstract information more concrete through diagrams and other graphics.

Download a free sample from my book Design Fundamentals.

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Jumat, 25 April 2014

The Web Is A Rectangle - Vanseo Design

The Web Is A Rectangle

Posted: 24 Apr 2014 05:30 AM PDT

Have you ever noticed how many websites look the same? How many are just a bunch of rectangles? How many seem to copy from one another? Where’s the uniqueness and creativity?

Note: This post includes an audio version. If you don’t see the audio above, Click here to listen. You can also subscribe in iTunes

These questions have come to my attention several times in recent weeks via a couple of podcasts and a tweet and its follow up posts. I want to take some time today to talk about the sameness and rectangularity on the web.

The two podcasts, On the Grid and The Web Ahead, both talked about the web’s sameness as a structural problem. Every element on a web page is a rectangle behind the scenes. The tweet by Mark Boulton and the follow up posts below talk more about responsive design possibly leading to sameness.

People always seem to ask questions about something leading to a perceived lack of creativity. You don’t have to look far to find articles about how technique x or tool y limits creativity. Many of these articles assert some common tool or popular technique is really doing us harm. I’ve written posts in reply to these assertions before and likely will again.

What can we do? Is our current practice leading to sameness? Is it the rectangular nature of the web? Is it our tools? Maybe the design industry simply lacks creativity. Why do so many sites look the same and what can we do about it?

Why Do So Many Websites Look the Same?

Please understand that much of what follows is me thinking out loud. I apologize in advance if this post doesn’t lead nicely to a cohesive point. It’s more random thoughts I’ve had and want to share. Let’s start with the underlying rectangular structure of the web.

The web itself appears to us as a rectangle as we view it through different rectangular screens. Our designs inevitably fill up a rectangle. Fundamentally everything you see on the web is a rectangle.

No matter how individual elements look there’s a rectangle behind them. This rectangle behaves according to the css box model and one of several different layout modules. You might see a circle, but that circle sits inside a box. You don’t see the box, but all the other elements on the page see it and respond accordingly.

And let’s face it. Rectangles work. They may get boring sometimes, but they work. Is everything being a rectangle behind the scenes a limitation prohibiting creativity? We’ve always been dealing with these rectangles. Why would they now limit creativity as opposed to a few years ago.

As we’re learning to design responsively many of us are currently more focused on the boxes. We’re working out the mechanics of responsive design and forming best practices. We’re less focused on aesthetics because we’re so focused on the structure behind the scenes.

Speaking of responsive design, Mark Boulton’s tweet was as follows:

I wonder if #RWD looks the way it does because so many projects aren't being run by designers, but by front-end dev teams

I’m not sure I agree. I don’t work with enough teams to truly know, but I have a feeling this isn’t about devs leading things as opposed to designers. It’s an interesting thought, though.

More likely it’s about the people who are becoming web designers and what their backgrounds were prior to going into web design. The person who becomes a web designer isn’t necessarily the same person who becomes a graphic designer.

I started my web design career as front end coder. I have no formal graphic design training and have taught myself whatever I know. My guess is many other web designers are in a similar place. Perhaps it’s not so much devs leading things, but web designers without graphic design training that are leading things.

One of the follow up articles to Mark’s tweet was by Stephen Hay who makes 3 interesting points to explain the sameness of designs.

Lack of a solid graphic design foundation
Excessive reliance on tools
Lack of critical design thinking when ~~copying~~ being influenced by the work of other designers

I agree with all 3 points. Like I said, I’d guess a majority of web designers don’t have graphic design training or schooling and started as web designers because they could work in html and css.

Our reliance on tools might be part of the creativity vs productivity debate. Designers use frameworks like Bootstrap and Foundation to speed development and be more productive. We make use of themes for content management systems. When a lot of sites are starting from a common point, it only makes sense the final products will share a lot and look similar.

Our clients want things to cost less. We want them to cost less. There’s always this tension between creativity and productivity. To a degree sameness could come from what people are willing to pay for. The less they want to pay, the less unique and starting from scratch they likely get. Some clients even ask for the same. They want their site to look like another site they like.

I’d also agree with the lack of critical design thinking. I think some comes from a lack of understanding design fundamentals. Many designers learn techniques and tips, but they learn them out of context.

Perhaps the problem is one of workflow. Even if designers are leading the process, perhaps something is getting lost in communication between designer and developer. Maybe it’s the process that leads to sameness.

The shift to responsive design affects most everything we do, from our tools to our processes. With so much changing and so many moving parts is it surprising that we’re focusing on a few at a time? We’re working with the layouts now and that’s what we see when we look at the finished sites.

Another reason for sameness is trends and people’s nature of copying. People have always copied what works. This isn’t something only happening now or in web design. A handful of people do something truly unique and once it’s shown to work, others copy it hoping for similar success.

The current trend in web design is flat design. It’s characterized by large flat rectangles and solid blocks of rectangular color. It’s a trend. People copy it.

When the trend changes to something with more aesthetic style, more original illustration, and more detail, the copies will be less exact copy. They’ll be more unique for a time before everyone gets good at copying again.

Designers are also looking more to statistics. We’re concerned with conversion metrics and seo and marketing in general. Here too we copy what works. If a certain design works well on landing pages you can be sure you’ll see more landing pages designed the same way.

Is it possible it’s something more? Is it possible the current slate of web designers simply lacks creativity? I don’t think so, but it’s fair to ask. Do we lack some kind of unifying theme, some conceptual core that pushes our designs forward? I think we lack both. The few times I’ve talked about elevating web design to something a little more than building websites, the talk has encountered resistance.

Maybe in the end the reason sites look the same is because fundamentally they’re all the same thing. They’re all information organized into pages connected by links. They all need navigation. Many are expected to have similar pages like about, contact, and home.

If form follows function and the function of most sites is similar, is it any wonder those sites end up looking similar? I think there are enough difference in site content for site designs to be different, but perhaps those differences aren’t as great as we might think.

Convention enters the picture here as well. We follow what works and cater to expectations to make our sites more usable. Navigation is placed across the top of the page or down the left or right sides, because people expect it to be there. We could create a new way to navigate, but then we run the risk of no one understanding how to get around our sites.

What Can We Do?

If we can do something to break out of this sameness what is it? What should we do to have more unique and less of the same?

Where there are issues caused by the shift to responsive design I think it will just take time for designers to get used to a new way of doing things. We’ll work out the layouts and get used to the workflows and deliverables and once we do more focus will be back on the aesthetics. Isn’t this how it’s always been?

In the very early days of the web there was no design. Elements just followed one another on the page. It worked, but it was visually boring. Then we used tables for layout and at first they were probably boring too. Soon someone realized you could slice and dice a Photoshop comp and reassemble it inside your html table and the aesthetics of a web page no longer followed the structure of the page.

Eventually we moved from tables to css and the focus was back on the layouts and everything looked rectangular and boxy. The same arguments about a lack of creativity were made then as they are now. Then we got used to css layouts and the aesthetics came back. The move to responsive design is just more of the same.

We can wait out trends or start the next one. The trend today is boxy. Is it any wonder that websites look boxy? A couple of years from now and illustration and depth will be back in and sites will look different.

Today’s trend strips away the ornamentation. It strips away the realistic details. It strips away little tricks we could use to cover a less than great decision. With less to work with there’s less variation.

For those who get flat design’s focus on fundamentals there’s plenty to explore aesthetically. For those that don’t all there is to do is copy. Hopefully in time the understanding of fundamentals will sink in with the copiers and we’ll see less exact copies and more inspired by other designs.

A certain amount of copying will always happen, though. It’s more productive and sadly feeds laziness. Again hopefully as designers gain more understanding of design fundamentals they’ll be able to look more critically at their own work and the work of others.

Time and waiting will also help with the structural problem of web pages being built from rectangles. CSS shapes especially, and to a lesser extent modules like exclusions, will help us break free from the box. We won’t be bound to rectangles only. Objets on the page will be able to look and behave like different shapes. Other elements on the page will react to the same triangle we see.

New shapes will open up more creative possibilities. They aren’t here yet, but they’re coming relatively soon.

Why do we have to show a presentation layer that shows the page’s structure? Do we have to show the grid behind the design? Can’t we have elements cross grid lines or look like circles when they’re really rectangles? Some might say it’s more honest to have your aesthetics match your structure. Maybe those people are right, but again I’ll ask if there’s anything wrong in our aesthetics looking like they sit on a different structure than what’s actually present?

One last thought about convention. We could and should be willing to try new things. We can’t do crazy things with client sites, but most of us work on our own projects and we can experiment with those. We’ll fail a lot and it will take people time to understand some of the new things we create, but we’ll learn before creating what becomes a new convention.

Of course, once we do everyone will copy the new convention and we’ll be having this discussion yet again.

Summary

A certain amount of sameness is inevitable. We learn from one another. We follow the same trends. We use the same tools, and work out the same problems often in front of each other. There will also be those who only copy and never do more.

The rest of us can experiment when and where it’s appropriate. We can try to work with new forms and new structures. We’ll see what works and what doesn’t and with that knowledge we’ll create less of the same old thing.

Give it time. In time the web will allow us to do more. We’ll have more shapes than rectangles to work with. In time trends will change and the next one may lead to more unique designs. In time we’ll have worked through the issues with responsive layouts and workflows.

In time we’ll move the focus back to the aesthetic layer. Much will be new again and then the new will get copied and we’ll be once again asking why so many websites look the same.

Download a free sample from my book Design Fundamentals.

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Selasa, 22 April 2014

How To Direct A Viewer’s Eye Through Your Design - Vanseo Design

How To Direct A Viewer’s Eye Through Your Design

Posted: 21 Apr 2014 05:30 AM PDT

Where in your design do people look first? Where do they look next? After that? How much control do you have when it comes to directing the viewer’s eye?

The last few weeks we’ve been looking at visual perception and the design principles that arise from it. Today I want to continue and consider how designers might direct the eye of the viewer through a composition.

As I mentioned last week this series comes mainly from the book Visual Language for Designers by Connie Malamed.

Guide the Eye By Grabbing Attention

Our eyes take in a lot more visual information than our brain can consciously process. We want to focus on the most compelling information so we selectively look at what we think most important. This is called selective attention.

Studies have shown that we can be distracted by visual information even when it’s not relevant. If it’s attractive enough, it’ll grab our attention even against our intention. This suggests we can direct where the eye will look and select what will gain the viewer’s attention.

When we do we speed up visual processing, reduce cognitive load, and increase comprehension. Directing the eye allows us to

Guide the viewer’s eye along an intended path
Guide the viewer’s eye to the most important information

Our attention can be captured at any point along either the bottom-up or top-down process. To attract attention during the bottom-up process you want to use contrast and emphasis and to attract it during the top-down process you typically create steps in sequence.

Arrows and other visual cues will be understood more often than written directions alone

The movement of our eyes through a composition are not random. We look for desired information and our attention is pulled to specific elements with features prominently emphasized. We quickly skip over what’s irrelevant looking for meaning in what we focus on.

As we scan a design our eyes tend to move horizontally or vertically. Diagonal movements are less frequent. After a few fixations we get the gist of what we see and once we do eye movement is influenced by the content of the design itself.

Different people might scan the same design in different ways. Each of us is unique and will think different information more important. We all have some common tendencies, though.

For example most of us will start scanning in the upper left cornier of a design. Those who read right to left may start in the upper right corner, but there’s some debate whether that’s so.

Guide the Eye Through Visual Weight

The first step in directing the eye is drawing it into the composition. You can take advantage of the bottom-up process and emphasize an element so greatly it becomes the dominant visual element in the design.

This dominant element creates an entry point into your design. It suggests where the viewer should look first. Without a dominant element a viewer may find it difficult to organize the visual information in front of them.

You give elements different visual weights based on their color, size, shape, and a number of other factors that might draw attention.

You create a dominant element by giving it the most visual weight. From there you can create several focal points with varying degrees of visual weight. The more important the element, the more visual weight it would receive.

Ideally you’ll create several levels of importance through visual weight. Three is the typical amount as most people can only distinguish between most, least, and everything in between. It is possible to create more than three levels of importance, but with each new level there is less contrast between all levels and differences are harder to detect.

Techniques for Guiding the Eye

We have several techniques at our disposal to help us guide the viewer’s eye through a composition. The first two work because they affect visual weight.

Position

The position an element occupies in a composition creates perceptual forces and tension that affect it’s perceived importance.

For example higher in the composition is usually seen as more important than lower in the composition. This is why important information like logos and navigation are more likely located in headers than footers.

Studies suggest that anything seen in the upper half of an image is considered more active and dynamic. The upper location also increases the perceived visual weight of the element.

The position of elements helps vary their visual weight and helps you create a visual hierarchy leading the eye from one focal point to the next.

Emphasis

Emphasis makes elements stand out. Without it elements can appear flat and lifeless and there are less opportunities to direct the eye.

A varying degree of emphasis works best. The eye instinctively moves from most to least prominent. If everything is emphasized, then nothing is emphasized. You want to create a relative emphasis across elements in order to establish a dominant/subordinate hierarchy and structure for your information.

Contrast attracts attention. People sense that areas of difference are more important than areas of sameness. Contrast also helps us distinguish figure from ground. It helps us recognize shapes and textures and patterns. It makes some elements more prominent than others.

You can contrast elements through characteristics like size, color, shape, and texture. According to Rudolf Arnheim when all else is equal, visual weight will be most dependent on size. Others suggest tonal values offer the greatest impact.

Emphasis can also be created through contradiction. Place an unexpected object in a familiar context and the contrast in expectations will help draw the eye. You can also use attributes in unfamiliar ways. Make children larger than adults or elephants smaller than mice. This works because it breaks schemas, which lead to an increased interest.

Movement

Static compositions move and flow according to the directionality inside them. Lines, shapes, and textures carry energy and tension based on orientation, position, nearness to other elements, etc. This energy and tension create directional forces in the composition.

For example imagine the image of a pitcher pouring liquid. As the liquid flows down from the pitcher, your eye follows the perceived flow. Even though the pitcher and liquid are static in the composition, you sense the movement that’s occurring because you understand how the real world works.

Rudolf Arnheim suggested that three factors determine the direction of visual forces in a composition.

The attraction exerted from the visual weight of surrounding elements
The shape of objects along their axes
The visual direction and action of the subject

We perceive kinetic energy in static pictures because we know how objects move in the physical world. We know the liquid is pouring down from the pitcher and not the other way, because we know how gravity works.

We can take advantage of the quality of lines and shapes to create movement based on rhythm. Place several of the same element in sequence and vary some of it’s characteristics and rhythm is created for the eye to follow.

Left to right movement is easier to perceive even in cultures where reading occurs right to left. This movement appears to be more neurological than cultural.

You can also create movement through perspective, which draws the eye into the depth of field of the composition. The viewer deduces the depth in pictures based on how things appear in the visual world. Larger objects appear closer (and more important). Cooler colors appear further away.

Eye Gaze

Our brains are wired to detect and recognize human faces. In compositions we’re drawn to pictures of people and even more we notice their eyes specifically.

We automatically move our eyes in the direction we see someone else looking. It’s most likely a survival mechanism and it occurs in all people. Infants as young as three months old will follow the eye gaze of those around them. Whether it’s innate or learned, eye gaze leads to joint attention.

If you want someone to look in a specific direction in your design, you can place a human face looking in that direction.

Visual Cues

Like eye gaze we can offer visual cues that direct the eye and attention to elements of our choosing. Visual cues signal the viewer’s attention to more important information reducing fixations and time spent processing.

Visual cues include things like arrows, color, and captions. They provide shortcuts to finding information and have been shown to improve recall.

Arrows are often used because they’re very effective. They clearly point the way and direct attention. When an arrow points to a location it helps the viewer filter out the extraneous and focus on where the arrow leads. It keeps the focus on the essential which is a first step in comprehension.

Arrows and other visual cues are more likely to be understood than written directions alone. The cues provide a structure and cognitive framework to follow. Viewers can construct better structures in working memory making information easier to assimilate.

Arrows should be dominant enough to attract attention, but not enough to overpower everything else in the design.

Color is another cue that can be used to attract attention and direct the eye. Contrasting color acts as a signal for the eye to move. It’s one of the primitive features and it can play a large role in guiding the eye.

Color helps viewers search for and find what’s most important
Color helps viewers notice and distinguish elements
Color emphasizes figure/ground contrasts and relationships
Color helps make information memorable

Color helps us organize and categorize. Differences must vary enough from background and surrounding elements to get noticed quickly and you should avoid using too many colors in a single design. Use color to note key information and help recall, comprehension, and retention of information.

Summary

Because the eye is always moving and fixating we can help guide people through a composition by directing where the eye should look next.

We begin by creating a hierarchy of relative importance through visual weight. The more visual weight an element has the more attention it attracts. Creating levels of importance in a composition help the eye quickly understand the scene in front of them and suggest the order in which to take in specific information.

We can use position, emphasis, movement, eye gaze, and other visual cues to help the eye find its way through a composition. Doing so speeds up visual processing, reduces cognitive load, and increases the probability viewers will see what we want them to see.

Next week we’ll continue with a look at realism and how reducing realism is often the best way to reduce cognitive load, help people find things quicker, and help them comprehend and retain the information they encounter.

Download a free sample from my book Design Fundamentals.

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