Responsive web design is not really a new concept, yet libraries and many websites in general, still have a way to go in adopting this method of web design. ACRL’s Tech Connect has covered various web design topics, including mobile applications, hybrid mobile applications, design basics, and website readability. Consider the responsive web design approach and its benefits another tool in your toolbelt and yet another option for libraries to present themselves online to their users.
So what is it?
As the number of devices in which we are able to view and interact with websites grow, it becomes more cumbersome to keep up with the plethora of laptops, desktops, mobile devices, and potentially devices or platforms that don’t yet exist. As our users view our websites and online resources in these various ways, we must ask the simple question- what does this look like and what is the user’s experience? If you have a smart phone or tablet, you may recall viewing a website and being annoyed that it is merely a shrunken teeny version of the site you’re used to seeing rather than adjusting nicely to accommodate the device you’re using. In many cases it requires you, the user, to do something to make it work on your device rather than accomodate you; a rather unappealing way to treat users I think. Here’s an examples from the New York Times website:
To avoid these awful Barbie-sized websites on our devices, the solutions we often see are: develop a mobile website, develop a mobile app, or create a website that is responsive and can handle most anything that comes it’s way. All of these are great solutions to developing a mobile presence however the responsive approach is fast emerging as a winning solution.
What makes it great?
The very basic benefit to creating a responsive website design is that you have one site for all devices- it’s intended to be inclusive for desktop machines and a variety of devices. A responsive site does not require anything of the user; no downloading or additional buttons to click, the result is immediate. That’s it. Rather than separate approaches for mobile through either a mobile site or mobile applications and then another approach for desktop machines- this method is flexible and covers it all under one design.
Responsive websites in the wild
The best way to experience responsive web design is to try out some websites that are designed in this way. Here are a few great examples with screenshots included- I recommend checking them out in your browser and then shrinking your browser window down to get the full effect or how this technology works. If you’re even more invested in the experience, bring the site up on any number of devices to see the benefits of responsive design done well.
Graphic designer, John Boilard, showcases his portfolio website using responsive design:
http://jpboneyard.com/ As you can see the images are flexible and each project displays very well on many devices. The images adjust accordingly and the performance of the site is easy to use and easy to view.
Web designer and the founder of responsive design, Ethan Marcotte, http://ethanmarcotte.com/ showcases not only his design but also his publications. There is a variety of content on his website and the responsive design works extremely well. For a quick article on responsive design from the graphic design perspective, see his article on A List Apart.
Matthew Reidsma, web services librarian at Grand Valley State University, also has a fantastic flexible site where even videos are responsive: http://matthew.reidsrow.com/ He is a web librarian to watch as he often writes and presents on responsive design (more on that below) and he is always creating really awesome and interesting web projects. The Grand Valley State University Libraries have a fantastic responsive site: http://gvsu.edu/library/
The website TitleCase, co-founded by designers and type experts, Jessica Hische and Erik Marinovich; this is an elegant example of showcasing this side project with a focus on type while all giving users a pleasant experience through responsive design.
Scribble Tone, the Portland, OR based design studio, created this responsive website for Design Week Portland: http://www.designweekportland.com/#footer With the gorgeous flexible images, the bold colors, and clear typefaces- all created and designed responsively- this website is pleasant and fun to use.
If you were like me and did not attend ALA Annual this year and get to see Matthew Reidma’s fantastic talk on Responsive Web Design for Libraries: Get Beyond the Myth of the Mobile Web, you are still in luck because he posted the talk and slides on his website here. He covers quite a lot and he provides a fantastic list of resources within that post. It’s a great presentation and truly worth watching all the way through.
To delve in more deeply into the details of designing with responsive web methods, I highly recommend Responsive Web Design by Ethan Marcotte. He not only provides good examples and techniques for designing this way, but he also explains the flexible grid and flexible images as well and displays his balanced approach between good design and good functionality. His website is also responsive and he’s designed complex websites: http://ethanmarcotte.com/
Another option, particularly for those who use WordPress as a CMS, there are a number of free responsive themes available that are already designed. Simply selecting the theme or taking a further step by creating a child theme that you could then customize would be a fairly simple way to make your website design responsive and more enjoyable.
The website, This is Responsive has a wide variety of tools to develop your own responsive website as does Bootstrap. So even if you don’t think of yourself as a designer, there are a lot of ways to get started in creating good design that is also responsive.
Whether you are interested in responsive design, mobile websites, or creating mobile apps, it is critical for libraries to be aware of the user experience as our customers use our websites and online resources on a variety of devices. The bar is being raised with responsive designed websites and users will come to expect this kind of experience. As the web, platforms, and devices evolve, it will be crucial for libraries to be already poised to offer a positive experience through good thoughtful design.
Tuesday June 5th through Friday June 8th 2012, 500 creatives from numerous fields such as, computer science, art, design, data visualization, gathered together to listen, converse, and participate in the second Eyeo Festival. Held in Minneapolis, MN at the Walker Art Center, the event organizers created an environment of learning, exchange, exploration, and fun. There were various workshops with some top names leading the way. Thoughtfully curated presentations throughout the day complemented keynotes held nightly in party-like atmospheres: Eyeo was an event not to be missed. Ranging from independent artists to the highest levels of innovative companies, Eyeo offered inspiration on many levels.
Why the Eyeo Festival?
As I began to think about what I experienced at the Eyeo Festival, I struggled to express exactly how impactful this event was for me and those I connected with. In a way, Eyeo is like TED and in fact, many presenters have given TED talks. Eyeo has a more targeted focus on art, design, data, and creative code but it is also so much more than that. With an interactive art and sound installation, Zygotes, by Tangible Interaction kicking off the festival, though the video is a poor substitute to actually being there, it still evokes a sense of wonder and possibility. I strongly encourage anyone who is drawn to design, data, art, interaction or to express their creativity through code to attend this outstanding creative event and follow the incredible people that make up the impressive speaker list.
I went to the Eyeo Festival because I like to seek out what professionals in other fields are doing. I like staying curious and stretching outside my comfort zone in big ways, surrounding myself with people doing things I don’t understand, and then trying to understand them. Over the years I’ve been to many library conferences and there are some amazing events with excellent programming but they are, understandably, very library-centric. So, to challenge myself, I decided to go to a conference where there would be some content related to libraries but that was not a library conference. There are many individuals and professions outside of libraries that care about many of the same values and initiatives we do, that work on similar kinds of problems, and have the same drive to make the world a better place. So why not talk to them, ask questions, learn, and see what their perspective is? How do they approach and solve problems? What is their process in creating? What is their perspective and attitude? What kind of communities are they part of and work with?
I was greatly inspired by the group of librarians who have attended the SXSWi Festival which has grown further over the years. There are a now a rather large number of librarians speaking about and advocating for libraries in such an innovative and elevated platform. There is even a Facebook Group where professionals working in libraries, archives, and museums can connect with each other for encouragement, support, and collaborations in relation to SXSWi. Andrea Davis, Reference & Instruction Librarian at the Dudley Knox Library, Naval Postgraduate School in Monterey, CA, has been heavily involved in offering leadership in getting librarians to collaborate at SXSW. She states, “I’ve found it absolutely invigorating to get outside of library circles to learn from others, and to test the waters on what changes and effects are having on those not so intimately involved in libraries. Getting outside of library conferences keeps the blood flowing across tech, publishing, education. Insularity doesn’t do much for growth and learning.”
I’ve also been inspired by librarians who have been involved in the TED community, such as Janie Herman and her leadership with Princeton Public Library’s local TEDx in addition to her participation in the TEDxSummit in Doha, Qatar. Additionally, Chrystie Hill, the Community Relations Director at OCLC, has given more than one TedX talk about libraries. Seeing our library colleagues represent our profession in arenas broader than libraries is energizing and infectious.
Librarians having a seat at the table and a voice at two of the premier innovative gatherings in the world is powerful. This concept of librarians embedding themselves in communities outside of librarianship has been discussed in a number of articles including The Undergraduate Science Librarian and In the Library With the Lead Pipe.
Rather than giving detailed comprehensive coverage of Eyeo, you’ll see a glimpse of a few presentations plus a number of resources so that you can see for yourself some of the amazing, collaborative work being done. Presenter’s names link to the full talk that you can watch for yourself. Because a lot of the work being done is interactive and participatory in some way, I encourage you to seek these projects out and interact with them. The organizers are in the midst of processing a lot of videos and putting them up on the Eyeo Festival Vimeo channel; I highly recommend watching them and checking back for more.
Principal of Fathom, a Boston based design and data visualization firm, and co-initiator of the programming language Processing, Ben Fry’s work in data visualization and design is worth delving into. In his Eyeo presentation, 3 Things, the project that most stood out was the digitization project Fathom produced for GE: http://fathom.info/latest/category/ge. Years of annual reports were beautifully digitized and incorporated into an interactive web application they built from scratch. When faced with scanning issues, they built a tool that improved the scanned results.
Data artist in residence for the New York Times, and former geneticist, Jer Thorp’s range in working with data, art, and design is far and wide. Thorp is one of the few founders of the Eyeo Festival and in his presentation Near/Far he discussed several data visualization projects with the focus on storytelling. The two main pieces that stood out from Jer’s talk was his encouragement to dive into data visualization. He even included 10 year old, Theodore Zaballos’ handmade visualization of The Illiad which was rather impressive. The other piece that stood out was his focus on data visualization in context to location and people owning their own data versus a third party. This lead into the Open Paths project he showcased. He has also presented to librarians at the Canadian library conference, Access 2011.
Jen Lowe was by far the standout from all of the amazing Ignite Eyeo talks. She spoke about how people are intrinsically inspired by storytelling and the need for those working with data to focus on storytelling through the use of visualizing data and the story it tells. She works for the Open Knowledge Foundation in addition to running Datatelling and she has her library degree (she’s one of us!).
Jonathan Harris gave one of the most personal and poignant presentations at Eyeo. In a retrospective of his work, Jonathan covered years of work interwoven with personal stories from his life. Jonathan is an artist and designer and his work life and personal life are rarely separated. Each project began with the initial intention and ended with a more critical inward examination from the artist. The presentation led to his most recent endeavor, the Cowbird project, where storytelling once again emerges strongly. In describing this project he focused on the idea that technology and software could be used for good, in a more human way, created by “social engineers” to build a community of storytellers. He describes Cowbird as “a community of storytellers working to build a public library of human experience.”
Additional people + projects to delve into:
Fernanda Viegas and Martin Wattenberg of the Google Big Picture data visualization group. Wind Map: http://hint.fm/wind/
Kyle McDonald: http://kylemcdonald.net/
Tahir Temphill: http://tahirhemphill.com/ and his latest work, Hip Hop Word Count: http://staplecrops.com/index.php/hiphop_wordcount/
Julian Oliver: http://julianoliver.com/
Nicholas Felton of Facebook: http://feltron.com/
Local Projects: http://localprojects.net/
Oblong Industries: http://oblong.com/
Eyebeam Art + Technology Center: http://eyebeam.org/
What can libraries get from the Eyeo Festival?
Libraries and library work are everywhere at this conference. That this eclectic group of creative people were often thinking about and producing work similar to librarians is thrilling. There is incredible potential for libraries to embrace some of the concepts and problems in many of the presentations I saw and conversations I was part of. There are multiple ways that libraries could learn from and perhaps participate in this broader community and work across fields.
People love libraries and these attendees were no exception. There were attendees from numerous private/corporate companies, newspapers, museums, government, libraries, and more. I was not the only library professional in attendance so I suspect those individuals might see the potential I see, which I also find really exciting. The drive behind every presenter and attendee was by far creativity in some form, the desire to make something, and communicate. The breadth of creativity and imagination that I saw reminded me of a quote from David Lankes in his keynote from the New England Library Association Annual Conference:
“What might kill our profession is not ebooks, Amazon or Google, but a lack of imagination. We must envision a bright future for librarians and the communities they serve, then fight to make that vision a reality. We need a new activist librarianship focused on solving the grand challenges of our communities. Without action we will kill librarianship.”
If librarianship is in need of more imagination and perhaps creativity too, there is a world of wonder out there in terms of resources to help us achieve this vision.
The Eyeo Festival is but one place where we can become inspired, learn, and dream and then bring that experience back to our libraries and inject our own imagination, ideas, experimentation, and creativity into the work we do. By doing the most creative, imaginative library work we can do will inspire our communities; I have seen it first hand. Eyeo personally taught me that I need to fail more, focus more, make more, and have more fun doing it all.
Considering adding a 3D printer to the array of technology your library offers to meet your members’ needs?
The DeLaMare Science & Engineering Library at the University of Nevada, Reno, recently added two 3D printers, along with a 3D scanner and supporting software, to its collection. In the spirit of sharing the tremendous excitement involved in providing a 3D printer to our community, we hope our successful experience may be of use to others as you make the case for your own library. We’ll cover the opportunities libraries can embrace with the potential 3D printing brings, what exactly 3D printing is, how 3D printing, making, and fabrication enhances and perhaps changes learning, and to illustrate we’ll talk about what we’re doing here in DeLaMare.
What’s a 3D Printer?
In a manner similar to printing images on paper, a “3D printer” is a type of additive manufacturing: a three-dimensional object is created by laying down successive layers of material that adhere to one another, creating a three-dimensional output.
What the material is composed of varies from one manufacturer to the next including:
- fine cornstarch held together by “watered-down superglue”
- ABS plastic (think Legos!) with each layer literally melted onto the other
- high-end photopolymer printers where each layer is “printed” by flashing a 2-D image of the layer onto a thin film of a photoreactive layer deposited on the growing surface of the object, the process is similar: the three-dimensional object is constructed by printing and adhering one layer at a time.
Although the technology has been around for well over a decade, the cost for reliable printers has dropped to the point where it is now becoming widely accessible to hobbyists and the education market. Fair warning: don’t be surprised (like we were!) to find that your local high schools may already be years ahead of you in this arena. You can learn a great deal by talking to the high school teachers that may already be on their second or third iteration of the equipment. This makes sense: with the ability to rapidly produce detailed precision parts, such a device is by its very nature a rapid prototyping tool; it has a rightful place next to those CNC routers and milling machines in the shop.
But… the academic library? We would argue that the DeLaMare Science & Engineering Library and academic libraries in general are about knowledge creation, and “rapid prototyping represents the kernel activity of knowledge creation through action.” Spraggon & Bodolica, 2008.
Think of it this way: a laser printer enables students to create a tangible product of their creative writing, enabling further refinement and creation as it is marked-up and shared with others. A 3D printer can play a similar but more broadly-based role in the lives of research and learning – producing tangible models of theoretical constructs, acting as the springboard of new ideas. The ability to go from a two-dimensional model on a computer screen to a real-world object that can be handled, is potentially transformative; immediately accessible, it will not only promote but accelerate knowledge creation and innovation.
But… a 3D printer in the library?
Not everyone can easily understand the connection between libraries and 3D printing. Sometimes stakeholders need to have the “dots connected” to better understand what it is, the value it provides in academia, and why a library is a prime location for this technology.
First consider technology that has become commonplace in today’s library:
- copy machines, recently expanded to include scan to email functionality
- desktop computer workstations and software
- laptops and tablets
- supporting equipment such as laser printers and scanners
- audio and video production and editing equipment and staff
- large-format (poster) printers and scanner
There is serious potential here
UNR Libraries and many academic libraries across the country already strategically deploy technology to enable knowledge creation across departmental boundaries. We are actively building an environment that nurtures creativity while stimulating and supporting learning and innovation across the university landscape.
The library is in a unique position to be able to leverage the wealth of learning and opportunities for knowledge creation that access to such technology can provide in a way that most individual departments are not. Because the library exists for everyone in the academic community, we are well equipped to provide open support for all. By its very nature the library is an active inter-disciplinary hub, where communities of practice cross paths regularly; rather than relegated to isolated departmental “silos” on campus, library technology explicitly enables learning and knowledge creation across disciplines. Science, Technology, Engineering & Math projects can be augmented by insights from the Arts and Humanities, and vice-versa. Regardless of academic discipline, “imagination begets fabrication, fabrication begets imagination.” (Doorley & Witthoft, 2012)
How is Rapid Prototyping a match for libraries?
Rapid Prototyping technology enables the active construction of new knowledge in a way that may be a good match for the library; beyond simply an opportunity to continue to be seen as leading the way technologically, the addition of the resource might enable your students and faculty to leverage the multidisciplinary skills and competencies needed to innovate and compete in today’s rapidly changing environment. In our case, liaison/outreach opportunities abound; currently identified needs that would be supported include:
• Chemistry Department – production of 3D chemical models and lattice structures in support of ongoing research being performed by graduate and undergraduate students working closely with teaching and research faculty. To date, the department has been required to outsource such production needs at a significant cost – both for the cost of the printing, and a lag time on the order of weeks to months for turnaround.
• Mechanical Engineering – development of custom piecework as-needed to support various projects throughout the undergraduate curriculum: from gears and structural work associated with robots and hovercraft to bridges and other structures; the students are already making heavy use of the equipment and software to meet unforeseen needs.
• Computer Sciences & Engineering – in addition to significant prototyping needs identified with several department flagship Senior Projects courses, more routine work will include the production of custom case enclosures to house prototype systems.
• Mining Engineering – production of 3D models of ore bodies and other mine structures immediately enabling learning on a level that is difficult to approach from a strictly two-dimensional print standpoint.
• Geography – structural modeling of geographic terrains, including 3D models based on traditional maps combined with other data to create tangible models of concepts being considered both in the classroom and as faculty research.
Potential support could include:
• BioSciences – examples could include production of body parts models from CT or other scans; producing tangible 3D replicas of actual case studies. [ Editorial note: a research team from the Psychology department on campus has already announced their intention to print 3D models of each team member’s brain from MRI scans.]
• Business/Engineering/Physical Sciences – production of custom parts needed to prototype development in support of patent applications without overly costly outsourcing of work.
• Seismology – active production of 3D models of fault boundaries in an area of study as based on field sampling and collected data.
• Arts – need more be said? Imagine the creativity documented in Lawrence Lessig’s “Remix” extended to the world of 3D objects…
In short, rapid prototyping is a new multidisciplinary literacy that is poised to boost learning and knowledge creation across the Sciences, Engineering, and Arts across the academy. The need for rapid prototyping support is real, and the library is an appropriate place to maximize both the investment and return on the equipment.
So what kind of 3D printer to get?
As of this writing, RP publications hosts a pretty thorough comparison chart of “Comparison Chart of All 3D Printer Choices for Approximately $20,000 or less” at http://www.additive3d.com/3dpr_cht.htm. Its authors make the important points up-front:
• there’s no such thing as the “best” 3D printer, and
• the most important thing is to ask yourself what you and your community will be doing with the machine; balance current needs and future potential.
What will we be doing with a 3D printer?
In identifying needs strongly in line with robust, droppable output; we needed to be able to print 3D models of gears, robot parts, and models that could be handled with a minimum of breakage. Stakeholders across the disciplines were quite clear that they would rather hand-paint a part made of “real” (ABS) plastic if need be than deal with pretty but fragile output.
We chose 2 printers for our maiden voyage along with supporting hardware and software:
- Production 3D printer: Envisioned as the production engine for reliable output of precision parts, the Stratasys uPrint+/SE appeared to be the optimum choice given the demands of a production environment. The combination of reliable precision output, along with the relatively low cost of materials, promises to be a good entry point, at roughly $4.50/cubic inch of printed volume. Although the Stratasys uPrint/SE is somewhat less expensive, the “+” option adds the capability of printing in multiple colors – a feature that is likely to be key in the adoption and use of the equipment.
- Hobbyist 3D printer: The 3DTouch printer was selected to serve both as an active display and an entry point for users experimenting with 3D print output; although the printer lacks the precision of the recommended production machine, the cost of materials with the 3DTouch are dramatically lower than for the production machine at approximately $0.60/cubic inch. The idea is that the 3DTouch can serve as a testing ground for first-round prototypes that would otherwise be printed at a significantly higher cost on the production machine.
- Supporting hardware and software: Purchases include a single NextEngine 3D Laser Scanner, along with a single license of the supporting software RapidWorks. Capable of scanning extended real-world objects at up to 160,000 points per inch, producing a highly-detailed digital representation that can be immediately opened and manipulated in popular modeling software such as SolidWorks or AutoCAD. The educational lab license (30 floating licenses) of the Rhino 3D Modeling Tools for Learning was purchased to meet the needs of customers less comfortable with the SolidWorks software available through a partnership with Engineering on campus.
Connecting the Dots
It should be mentioned that the equipment identified for purchase already has a successful track record – it continues to be the choice for installation in high schools across the country for the same reasons detailed here.
The introduction of the new service already speaks loudly to the students and faculty as to UNR Library’s commitment to the continuing support of combining new with traditional technologies in support of the depth of learning that could not otherwise be obtained. In addition to directly supporting learning and innovation across disciplines at the University, the addition of rapid prototyping services may provide opportunities to introduce those that may not currently think of themselves as “library users” to the wealth of supporting resources that the library already provides. Production use of the 3D printers will build on the already well-established model of large-format printing support, developed over many years; the adoption of the new technology will not require substantial modification to existing procedures.
The great news is we are seeing both printers get use from students and faculty from a variety of departments, even through the summer. Many students have been early adopters, often spreading the news by word of mouth and bringing their work to their peers and faculty. Interestingly, the students are helping each other with the 3D scanning, manipulation and building using 3D software, as well as sharing files. The printer is available to all within the UNR community and we are also looking forward to working with a number of faculty as they add 3D printing as part of their courses and curriculum starting this fall.
Edited to add the official press release from University of Nevada, Reno: http://newsroom.unr.edu/2012/07/18/university-of-nevada-reno-library-first-in-nation-to-offer-3d-printing-campuswide/
Doorley, S., & Witthoft, S. (2012). Make space: How to set the stage for creative collaboration. (1 ed., p. 79). Hoboken, New Jersey: John Wiley & Sons, Inc.
Spraggon, M. and Bodolica, V. (2008). Knowledge creation processes in small innovative hi-tech firms, Management Research News, 31(11), p. 879-894.
About Our Guest Author: Tod Colegrove holds the degree of Master of Science in Library and Information Science with a concentration in Competitive Intelligence and Knowledge Management from Drexel University which complements additional advanced degrees held in Physics, including the Ph.D.; over 14 years experience as senior management in high-technology private industry. Actively involved in the academy across multiple scientific and engineering disciplines, and keenly aware of the issues and trends in scholarly communication in the sciences; active member of the Association of College and Research Libraries, Science and Technology Section (ACRL/STS), as well as the Library and Information Technology Association (LITA) division of the ALA. At the University of Nevada, Reno, where I served multiple years as manager of the Information Commons @One at the opening of the Mathewson-IGT Knowledge Center, and currently serve as the Head of the DeLaMare Science & Engineering Library.
Previously I wrote about the importance of design in libraries, the design process and discussed three core elements of design: color, composition, and size. In this post, I’d like to focus on typography. Though not traditionally a design element, typography is more a tool or a language to use within your design to convey the message you are trying to achieve.
As mentioned previously, design elements work together to create a successful design that communicates to your audience if used well, and typography is no exception.
Type is rather complex and has a rich history. There are abundant options available with free and for-a-fee font files available. There are even resources available to have beautifully designed type on your website. Designers still create typefaces from scratch if needed, particularly for decorative uses. But it is perfectly acceptable to use already available font files and most designers do this. To create thoughtful designs using type well does not have to be difficult; with some basic knowledge, you can successfully choose the right type for the job and develop a successful design.
About fonts versus typefaces
As you work in design, it’s good practice to use the correct terminology. When most people talk about letterforms, they use the term, “fonts.” However what most people really mean is “typeface.” Fonts are really the format in which the typeface is available- librarians can understand this distinction easily. As Ellen Lupton states in Thinking With Type, “A typeface is the design of the letterforms; a font is the delivery mechanism…In digital systems, the typeface is the visual design, while the font is the software that allows you to install, access, and output the design.” Lupton’s book is a resource I highly recommend by the way. If you read nothing else about design and type, please read her book. I’ve provided the citation toward the end of the post.
Typography versus design
Typography within design should never be an afterthought. In fact, in many cases the typeface you choose can make or break a design. Every design should be a fluid creation, balancing between the various design elements and type. A designs are being created, it is best to bring the elements up together, tweaking and adjusting each piece as you go while also taking that step back to see the whole picture. As in writing, it can be more beneficial to keep the overall theme and outline in mind as you work on various details and sections of a piece; being too focused in on one small detail may be detrimental to the overall design piece.
There is a lot to learn and geek out over design and typography but rather than overwhelm, I’m going to give some good basics about type that will get you started right away. There are several main type classifications and the main three groupings are humanist, transitional, and modern or geometric.
Ellen Lupton defines each as the following: “Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic.”
For the purpose of this post and for what you really need to know, I’m going to lump them into four categories based on the look of the typeface: Serif, Slab Serif, Sans Serif, and Decorative. There are examples of each one below.
Serif typefaces essentially have feet. Serif typefaces are essentially more organic and derive from various periods in history. You see these typefaces traditionally used in novels and blocks of text. Their use is not limited to that, however. There are many new Serif typefaces being developed that are contemporary based on their more historic predecessors.
Slab Serif typefaces also have feet but their feet are blockier and slab-like, hence the name. These typefaces were developed for advertising and are more contemporary than traditional Serifs. These are used in a variety of ways but are popular for titles, posters, flyers, websites, and logos.
As the name implies, these typefaces do not have Serifs or “feet”. They are generally more contemporary and less organic than Serif typefaces. These are very popular for text within websites, logos, and posters.
Decorative or ornamental typefaces are self explanatory. These are typefaces that can stand alone as an image or illustration. They are highly decorative and should be used very carefully as they can overpower a design or clash more easily with other elements. Not all decorative typefaces are equal and many designers who are really good with decorative type do the lettering by hand and specialize in this area specifically. When done well and with skill, decorative typefaces are a true art form and when done poorly, they can quickly highlight an amateurish design. Decorative type is gaining in popularity as people, designers and non-designers alike, are embracing retro styles again and these typefaces are seeing a resurgence in use.
Bold, Italic, Underlined, Caps, and, and, and….
There is nothing wrong with using these elements. However it’s a good rule of thumb to use them sparingly and not all at once. By using them judiciously, they will have more impact and continue to maintain readability, which is key to design. Use them with caution.
As you design and use type, be aware of what your type may be conveying to your audience and the medium in which you are designing in. Some typefaces are more successful on screen than others and some typefaces are specifically designed for print, screen, etc. A good resource for typefaces on the web is the 3rd edition of The Web Style Guide. There is a section specifically on typography that is helpful and gives insite into where typefaces are today.
Like all design elements and design in general, you are communicating with others. What is the type you are using saying? Does it fit with the message you want to send? Are you going for a modern and sleek look? Do you want to give your design a tactile/print feel or maybe you want it to be an homage to a specific period in design history? How does the typeface fit in with the rest of your design? What kind of mood might you be setting with the type and design elements you’ve put together? Type has a personality so be sure to choose a typeface that assists and hopefully conveys the message you want to give.
At this point, you have the type basics and I hope that this gets you thinking more about the typefaces you see and perhaps use in your designs. I highly encourage reading Ellen Lupton’s book, Thinking With Type: a critical guide for designers, writers, editors, and students. She goes over a good deal of design basics and some design history and it’s a quick, enjoyable, informative read.
The best way to learn type and design is to just start. Things change so quickly and what was once right can become wrong or out of style very quickly. In design, you learn much more quickly by designing and making work. So pick a project and begin!
Previously, I wrote about the importance of design in libraries and the design process. Next I’d like to delve in deeper and talk about the elements of design. These elements, or components, are the pieces that make up a whole design. Design elements work together to create a successful design that communicates to your audience if used well.
Most designers would agree, the elements of design are essentially the following:
- space or composition
I am also going to add typography. Though not traditionally an element, choosing type carefully and in some cases even showcasing it within your design, can transform something that meets the status quo into a higher quality design. In carefully crafting your design with an understanding of the elements, your design may be considered not only professional, but memorable.
Rather than talk about all of the elements in this post. I’m going to focus on three to get you started and then I’ll come back to typography and perhaps others in future posts.
With color, composition, and size down, you can create a strong design whether you are making a flyer, sign, promotional materials, or webpage. To create a design considered high quality, nuanced, or sophisticated by design standards, you will need to push further and understand all of the elements. This post is just to get yourself started and able to make something professional that will add to your credibility as a professional organization.
Some have asked me in the past, what credibility has to do with design and libraries and it’s a good question. Without delving too deeply, you can see the above photo where someone has made a simple sign using the typeface comic sans and in response someone calls them out for being unprofessional in using it. Honestly, I have mixed feelings about this image but it still illustrates a valid point: in creating bad design or making poor design choices, you may look unprofessional to your audience. Good design will build trust and credibility with your users. I’ll be including examples throughout this post to show different elements and where they work.
Starting with color, there is an enormous amount of resources on color theory and designing with color. There are scholars who have made a living on researching color alone. To have a successful design, you don’t need to be a color expert but it helps if you have some basics down to understand how color works and doesn’t. It’s a choice to include color in your design- plenty of successful designs are black and white or have minimal color and it’s part of the aesthetic and the message they want to convey.
Sometimes one color is enough; this is called a monochromatic color scheme.
Employing the use of opposite colors on the spectrum together is complementary.
There are numerous ways of combining colors and using them effectively in design. When using color the most important piece to keep in mind is using color consciously, thoughtfully and being aware of individuals who may have vision impairments. You can use many colors in a design, but if not done so with care, it may not achieve the look or convey the message intended. In some cases, misuse of color may not be readable. There are a number of resources available that can assist in putting together a good color palette as well ensuring your colors are accessible.
Composition is where the pieces lay on the page in relation to the page sides, edges and other pieces. Composition may include: an illustration or a logo, title text, headlines, or a call to action, and smaller elements such as a block of text or links. There is a decision to be made about what the most important elements are. Not every element should have the same amount of weight in importance.
In laying out the composition, you’ll want to pay attention to what is referred to as alignment. Often in design you’ll see a strong left alignment where several elements begin at the same starting point on a page; this is fairly conventional and a good choice. Left alignment is certainly not the only successful way to create a composition, but it rarely fails. As the design is being formed it’s good to think of the elements and pieces you are working with abstractly. Imagine them as puzzle pieces or building blocks. Many designers use methods such as the grid, wireframing, or abstract sketching to get a rough sense of the composition. The grid is a good place to start and is a current design trend. My best advice is as you build together the pieces, keeps things somewhat loose and flexible so that you think of the overall page and the pieces in relation to each other, rather than get bogged down by one piece.
On Jessica Hische’s website, she balances a lot of information on each page without losing the quality of the overall design. She showcases portfolio pieces and allows those designs to shine while the composition, typography, and color compliment her efforts and don’t compete for attention. To the right of the large image, Hische aligns the subheading and links to the left, along with the various elements below the link list. Organizing the site in this way creates order and contributes positively to the overall design. Hische devotes a good deal of the composition to white space. Doing so allows the viewer’s eye to rest and directs them back toward the focus, in this case the photo and information on the portfolio piece she is showcasing.
Size is related to composition in that the size of one shape or block of text will relate to others around it.
So, for example, if you have a title, subtitle, author, and publisher and you want to emphasize the title above everything else, then the title will naturally be larger in size. Next, you may want the subtitle to be less than the title but larger than the author or publisher. In some cases, you may want to make the author name the largest element- these are all design decisions relating to size that will convey different things to the audience who sees it.
On Trent Walton’s website, he’s making a point about responsive web design (a topic I hope to delve into in a future post). To communicate his message, he’s using size and color. The bold color and size of the title, Fit to Scale, captures viewer’s attention. There is also variation in size within the text block, drawing out the first sentence for emphasis. The navigation is also a different size, easy to see when it’s needed but not in the way of the message of the page.
Putting design into practice
Now that we’ve gone over some basics, I recommend exploring what designs out there speak to you. Develop a collection of designs you like; whether they are websites, flyers, posters, etc., if there is something you like about the design then study it. Much like writers who read a lot to become better writers, designers will study good design and analyze what makes it good in order to become a better designer.
Get feedback from other designers or others who understand design. There are a number of excellent portfolio websites out there that have extremely rich communities willing to offer a critique in exchange for a critique. These are excellent resources that are invaluable to designers, as meaningful feedback is very difficult to find:
Look more deeply into what elements the designer has employed to make the design successful and ask yourself some questions: what colors did they use? what is the balance between the different colors used? is there whitespace? how is the composition set up? can you identify alignments? how did the designer break apart size?
If there is a design you don’t like it is worth exploring why you don’t like it. Ask the same kinds of questions. What makes it fail to you? Figure out what it is that makes you react strongly
This is a way to get yourself to really think in a design way, observe, and subsequently learn about design. In seeing, you will be a step closer to designing well.
If you can recognize, study and thoughtfully employ these elements and make them work together harmoniously you can make a good design. Keep things simple- better to err on the side of restraint than give too much.
Don’t forget that in designing, you are communicating. Think about the message. What do you want to say and how can you attempt to convince your users to believe you? Are you earning credibility? Trust? What kind of atmosphere are you creating?
Design is an opportunity to give our users a positive experience and perhaps even to delight them.
Previously, I wrote about the value of design in libraries, and others, including Stephen Bell and Aaron Schmidt, have written and presented on the topic of design in libraries as well. Now I’d like to focus on and delve specifically into what graphic design process may entail. For librarians who design regularly, I hope this helps to articulate what you may be doing already or perhaps add a bit to your tools and tips. For those that don’t design, I hope that this might give you insight into a process that is more complex than it may seem and that you might give designing a try yourself. For some ideas, try any of these are great library design projects: signs, webpages, posters, flyers, bookmarks, banners, etc.
What Is It Like to Design?
People might wonder why design needs to be a process. The very basic process of design, like many processes, is to solve a problem and then create a solution. Jason Fried, founder of 37signals and co-author of Rework, tweeted recently, “Your first design may be the best, but you won’t know until you can’t find a better one.” He later added this image from The Intercom blog as an illustration to make this important point. Striving for an elegant or best solution is something librarians and designers have in common. Librarians often share best practices and examining this process may not only assist us in terms of design, but perhaps we can apply these concepts to other areas of librarianship as we create programs, outreach, marketing, and more.
Design is a process.
Designers work hard to develop a successful design and it doesn’t always come easy. Here are some of the basic steps designers take in the development phase of their work. Every designer is a bit different, and not all designers follow the exact same process. However, this is a pretty good foundation for beginner designers and once you get good, you can incorporate or modify pieces of the process to make it work for you and the project at hand. Design is subjective and there are few hard and fast rules to follow, however, in future posts I’ll be talking more about design elements and details to help you create stronger designs that will speak to your users.
Design has constraints.
Before you start laying things out and jumping into a design, you want to understand what the “specs” or specifications are. These are the details of the final piece you need up front before you begin any design. For example, is the piece going to be printed or is it an online piece? What’s the budget? Is it black and white, color, how many colors? What size? If printed, what paper will it be printed on? Will color bleed to the edge or is there a border? Is there folding or cutting involved?
All of these considerations are going to be the rules you must work under. But most designers like to think of them as challenges; many times if the specs aren’t too restrictive they can actually empower the designer to drive harder to make it more creative. You really don’t want to start designing before you get this all worked out because once you’ve jumped in it can mean starting over if a critical spec is missed. If you have designed for a set of specs and then try to modify it to fit all new specs later, it almost always compromises the strength of the design to work this way. Better to know those specs up front.
Design requires an open mind.
Sketch like crazy. You may think you have the best, most original idea ever once you get your assignment or have your specs, but please do yourself a huge favor and sketch some ideas out first. Do at least a page of sketches if not much more. Take notes, do some research on the topic, do word associations and mind maps and draw stick figures and doodle. Keep an open mind to new possibilities. Observe the world around you, daydream, and collect inspiration. You might still stick with that first idea but chances are you come up with something even better and usually more original if you push yourself to think in new ways and explore.
Design step by step.
Depending on the complexity of the piece, whether it’s print or web, I might do more or less of each step below. If you’re designing or reworking a website, this is a good method to get a powerful, thoughtful design. And of course, you can go back and iterate based on feedback given, changes to the design that impact design elements. If the design structure is strong, changes should be fairly small.
Basic Design Development Process:
1. research the topic, take notes, ask questions, doodle, jot down ideas, simmer
2. series of thumbnail sketches
This is an extension of step 1. Do as many as you can muster…do it until you are sick of it. Here is a great presentation I recently found on sketching.
3. build wireframe
Stay abstract/block in composition. This is going to be larger than a thumbnail but try to keep it free from detail.
4. sketch comps
Take steps 2 and 3 and flesh out 3 comps. These should not be final but should follow specs and be close to finished in terms of look and feel for the major design components. You may use lorum ipsum text if you wish. This technique helps to keep people from giving feedback about the content over the design. Of course there are times the content may absolutely need to be there but use your own discretion and know that this is an option and may help in moving forward.
5. finalize comps
Usually 3 choices are offered to a client, but if you are your own client obviously just do your favorite.
The design is done, let’s celebrate!
Well, not exactly. This process is merely just one phase of a much larger process that includes steps including: initially meeting the client, negotiating a contract, presenting your designs, more testing and usability, iterative design adjustments, possibly working with developers or print houses, etc. Design is a process that requires study, skills, schooling, and knowledge like many fields. I’ll be talking about more design topics in the future, so what is not covered here I’ll try and cover next time. Luckily, I gathered some great…
Design resources to get you started:
This is not a comprehensive list by any means but highlights of a few resources to get you thinking about design.
- Non-Designer’s Design Book: One of the best beginner design books out there (overlook the cover- it really is a great book!).
- Smashing Magazine: Really good stuff on this website- including freebies, like decent icons and vector artwork. Covers typography, color, graphic design, etc.
- a list apart: another great site that delves into all kinds of topics but has great stuff on graphic design, UI design, typography, illustrations. etc.
- Fast Company Design: relevant design articles and examples from industry.
- IDEO: design thinking, great high level design examples- check out their portfolio in selected works.
- Thinking With Type: title says it all- learn about the fine art and science of typefaces. You will never look at design and type the same way again.
- Stop Stealing Sheep and Find Out How Type Works: another must on typography
- Drawing on the Right Side of the Brain: seriously. even if you think you can’t draw. try it. anyone can draw, truly. Drawing helps you think in new and creative ways- it will help you be more creative and help in problem solving anything. Even those small doodles are valuable.
Enjoy and thanks again!
What is the importance of design in libraries?
Libraries have users, and those users go through an experience, whether they walk through the doors and into the building or use the library’s online website and resources.
Why should we care?
- Design can give users a good experience or a bad one.
Think about when you go to a store. Any store. The experience you have can be improved by design, or hindered by design. For example, if you go to a store in person and you are trying to find a particular item- signs have the potential to help you find that item. But what if you had too many signs? Or what if those signs are unreadable?
Think about when you are at a restaurant. You certainly want to have an enjoyable dining experience. From the time you walk through the door to the time you leave, everything you encounter and experience has an impact on you. When you sit down to the table and open the menu, you want to be able to easily read the menu items. Have you ever been to a restaurant where it was hard to decide on what to order because the menu was difficult to read? This seems to be a common occurrence, yet a simple well thought out menu can change that experience entirely. And great design can even give people an emotional experience that they remember deeply. Think about a time when you went to a restaurant and had a great experience; think about what details made that experience great.
- Now take these concepts and redirect them to libraries.
When a user walks into the door of the library, what is their experience? Put yourself in the users shoes. Are signs unfriendly or hard to read? Is it difficult to find what they might be looking for? Think of design as a way of providing service to users. Good design takes training and study, however, within a relatively small timeframe, anyone can understand design basics and fundamentals to create decent design that communicates. Librarians are good at organizing things and within design lies organization. Designing is simply organization and choices about elements such as typography, composition, contrast, and color to name a few.
- Design is also about restraint; what you don’t do.
This is an important distinction because often people get excited when they explore elements of design and want to put everything they love all into one design. Often this doesn’t work very well and it comes back to making good choices and sometimes leaving out an element you really love but doesn’t work in the overall design you are building. It’s okay though- designers collect like librarians do and we just save that good stuff for another design that it will really work well in. Keeping a little library and saving elements and inspirations are part of being a good designer. Whether online or in paper- both practices are good to get into. The tool Pinterest serves this purpose well but any tool or method for collecting design elements and inspiration is good practice. When you are looking for ideas- don’t forget to go to that tool to give you new ideas or to help get you thinking in new ways.
- Good design in libraries leads to a quality user experience.
This concept of design can extend to all kinds of user experiences in the library, including layout of a room, the library’s web presence, the building’s architecture, furniture choices, marketing materials, and more. But let’s start simple- start in your library and examine what you have for signs. Ask this: what does this sign communicate to our user? How does it look and feel to you? What if this sign were in a store where you were making a purchase, how would it communicate in that scenario? Ask users what they think of your signs as well. Developing an understanding of what works and what doesn’t, will only lead to better design and thus better user experience.