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A new survey indicates that 1 in 5 small businesses use social media in place of a website. Many assume a website is cost-prohibitive and may not consider the risks of not having one.

By MediaStreet Staff Writers

More than one-third (36%) of small businesses do not have a website, according to the websites section of the fourth annual Small Business Survey conducted by Clutch, a B2B research firm. One in five small businesses (21%) selectively use social media instead of a website in an effort to engage customers.

The survey indicates that small businesses consider cost a bigger concern than the potential repercussions of not having a website.

 

Social media platforms such as Facebook and Instagram attract small businesses by cultivating a highly engaged user base. However, relying solely on social media may be a risky strategy for businesses.

“Whenever you put all of your eggs into someone else’s basket, it’s risky,” said Judd Mercer, Creative Director of Elevated Third, a web development firm. “If Facebook changes their algorithm, there’s nothing you can do.”

Facebook recently announced changes that potentially increase the risk of using social media in place of a website. The social media platform plans to prioritise posts from family and friends over posts from brands.

This new policy may make it more difficult for small businesses to reach their audiences through social media. As a result, websites are expected to regain importance among businesses – as long as cost is not considered an obstacle.

Among small businesses that do not currently have a website, more than half (58%) plan to build one in 2018.

Some Small Businesses Say Website Cost is Prohibitive, But Others Cite Costs of $500 or Less

More than a quarter (26%) of small businesses surveyed say cost is a key factor that prevents them from having a website. However, nearly one-third of small businesses with websites (28%) report spending $500 or less.

Small businesses may not be aware that some web development agencies offer packages that defray costs by dividing website construction into multiple phases or sliding rates for small businesses. “You don’t necessarily need to launch with your first-generation website,” said Vanessa Petersen, Executive Director of Strategy at ArtVersion Interactive Agency, a web design and branding agency based in Chicago. “Maybe just start small.”

Mobile-Friendly Websites Becoming Standard
Businesses that do have websites are moving en mass to mobile friendly ones, the survey found. Over 90% of respondents said their company websites will be optimised for viewing on mobile devices by the end of this year.

In addition to the 81% of company websites that are already optimised for mobile, an additional 13% that say they plan to optimise for mobile in 2018.

Clutch’s 2018 Small Business Survey included 351 small business owners. The small businesses surveyed have between 1 and 500 employees, with 55% indicating that they have 10 or fewer employees.

To read the full report and source the survey data, click here.

 

 

So, which citizens trust their media the most? And the least?

By MediaStreet Staff Writers

Let’s start with the USA. The 2018 Edelman Trust Barometer reveals that trust in the U.S. has suffered the largest-ever-recorded drop in the survey’s history among the general population. Trust among the general population fell nine points to 43, placing it in the lower quarter of the 28-country Trust Index. It is now the lowest of the 28 countries surveyed, below Russia and South Africa.

The collapse of trust in the U.S. is driven by a staggering lack of faith in government, which fell 14 points to 33 percent among the general population, and 30 points to 33 percent among the informed public. The remaining institutions of business, media and NGOs also experienced declines of 10 to 20 points. These decreases have all but eliminated last year’s 21-point trust gap between the general population and informed public in the U.S.

“The United States is enduring an unprecedented crisis of trust,” said Richard Edelman, president and CEO of Edelman. “This is the first time that a massive drop in trust has not been linked to a pressing economic issue or catastrophe like the Fukushima nuclear disaster. In fact, it’s the ultimate irony that it’s happening at a time of prosperity, with the stock market and employment rates in the U.S. at record highs. The root cause of this fall is the lack of objective facts and rational discourse.”

Conversely, China finds itself atop the Trust Index for both the general population (74) and the informed public (83). Institutions within China saw significant increases in trust led by government, which jumped eight points to 84 percent among the general population, and three points to 89 percent within the informed public. Joining China at the top of the Trust Index are India, Indonesia, UAE and Singapore.

For the first time media is the least trusted institution globally. In 22 of the 28 countries surveyed it is now distrusted. The demise of confidence in the Fourth Estate is driven primarily by a significant drop in trust in platforms, notably search engines and social media. Sixty-three percent of respondents say they do not know how to tell good journalism from rumour or falsehoods or if a piece of news was produced by a respected media organisation. The lack of faith in media has also led to an inability to identify the truth (59 percent), trust government leaders (56 percent) and trust business (42 percent).

This year saw a revival of faith in experts and decline in peers. Technical (63 percent) and academic (61 percent) experts distanced themselves as the most credible spokesperson from “a person like yourself,” which dropped six points to an all-time low of 54 percent.

“In a world where facts are under siege, credentialed sources are proving more important than ever,” said Stephen Kehoe, Global chair, Reputation. “There are credibility problems for both platforms and sources. People’s trust in them is collapsing, leaving a vacuum and an opportunity for bona fide experts to fill.”

Business is now expected to be an agent of change. The employer is the new safe house in global governance, with 72 percent of respondents saying that they trust their own company. And 64 percent believe a company can take actions that both increase profits and improve economic and social conditions in the community where it operates.

This past year saw CEO credibility rise sharply by seven points to 44 percent after a number of high-profile business leaders voiced their positions on the issues of the day. Nearly two-thirds of respondents say they want CEOs to take the lead on policy change instead of waiting for government, which now ranks significantly below business in trust in 20 markets. This show of faith comes with new expectations; building trust (69 percent) is now the No. 1 job for CEOs, surpassing producing high-quality products and services (68 percent).

“Silence is a tax on the truth,” said Edelman. “Trust is only going to be regained when the truth moves back to centre stage. Institutions must answer the public’s call for providing factually accurate, timely information and joining the public debate. Media cannot do it alone because of political and financial constraints. Every institution must contribute to the education of the populace.”

Other key findings from the 2018 Edelman Trust Barometer include:

  • Technology (75 percent) remains the most trusted industry sector followed by Education (70 percent), professional services (68 percent) and transportation (67 percent). Financial services (54 percent) was once again the least trusted sector along with consumer packaged goods (60 percent) and automotive (62 percent).
  • Companies headquartered in Canada (68 percent), Switzerland (66 percent), Sweden (65 percent) and Australia (63 percent) are most trusted. The least trusted country brands are Mexico (32 percent), India (32 percent), Brazil (34 percent) and China (36 percent). Trust in brand U.S. (50 percent) dropped five points, the biggest decline of the countries surveyed.
  • Nearly seven in 10 respondents worry about fake news and false information being used as a weapon.
  • Exactly half of those surveyed indicate that they interact with mainstream media less than once a week, while 25 percent said they read no media at all because it is too upsetting. And the majority of respondents believe that news organizations are overly focused on attracting large audiences (66 percent), breaking news (65 percent) and politics (59 percent).

It’s a brave new world, and we as marketers must realise that placing any marketing cash with distrusted media outlets could mean a very big waste of our advertising spending power.

Snapchat seems to be sliding down the list of prefered ways for influencers to reach their fans. A new report had shown that not one influencer surveyed chose snapchat as their favourite platform.

By MediaStreet Staff Writers

New research released today by Carusele and TapInfluence uncovered some surprising results about how influencers feel about various platforms heading into 2018.

Of the 790 influencers surveyed, none answered Snapchat to the question, “What is your favourite channel to use for branded content?”

Personal blogs were the favourite of 36% of respondents, followed closely by Instagram at 35% and Facebook at 12%. Twitter (9%), Pinterest (6%) and YouTube (1%) also received votes.

Even when asked to name their second favourite choice, Snapchat collected fewer than 1% of the responses, while Facebook ranked first at 26% and Instagram second at 25%.

“Two things are clear from this part of our survey,” said Jim Tobin, president of Carusele. “The first is that blogs aren’t going anywhere, which I think is a good thing for both brands and influencers. And second, Instagram’s moves over the last year or two have really outmanoeuvred Snapchat, which had been a hot platform for creators two years ago.”

Influencers also plan to be in the space for the long haul, with 97% of influencers surveyed planning to continue their work “as long as I’m able.” This despite fewer than half surveyed reporting working full time in the vocation (46%) while 24% work full time elsewhere and 13% part time elsewhere. The balance report being full time parents or caregivers.

“Our earlier research legitimised influencer marketing as a sales driver. This new research supports the fact that it remains a viable career option for content creators,” said Promise Phelon, CEO of TapInfluence.

Carusele won the 2017 Small Agency of the Year Award at the Shorty Awards. It utilises a hand-crafted network of content producers to produce premium influencer campaigns for leading brands and retailers.  TapInfluence is an influencer marketplace connecting brands with social media influencers. And if they say that Snapchat is no longer cool, then it probably isn’t.

 

 

By Erik Spiekermann.

Good design is often based on a careful mix of tradition and innovation. And revolutionary inventions are solidly based on the findings by previous generations of professionals. So, whatever a domain of creative work you have chosen as your job, it’s important to sometimes stop and look back, listening to wise and experienced voices of people being in that job for years.

Earlier we have already shared numerous expert quotes, tips, video talks and books worth reviewing to support our readers with useful resources. In particular, you could check the insights into Design Is a Job by Mike Monteiro and  Designing for Emotion by Aarron Walter—the books belong to the series A Book Apart for designers offering the diversity of expert tips, case studies, and resources. Today continuing on this way, we are sharing a new set of quotes by Erik Spiekermann, a famous German typographer, designer and writer, an honorary professor at the University of the Arts Bremen and ArtCenter College of Design. Having passed the long way in graphic design from 1970s, being an author of books and articles as well as awards winner, he is justly recognized as a guru of typography and avidly shares his experience and expertise. So, here we will save a bunch of 20 useful expert tips for Tubik Quotes Collection — we got them from his blog, his interview for 99U and other published writings.  Join in and let’s look into his thoughts together to know a bit more about the master.

I’m very much a word person, so that’s why typography for me is the obvious extension. It just makes my words visible.

 

Inher­ent qual­ity is part of absolute qual­ity and with­out it things will appear shoddy. The users may not know why, but they always sense it.

 

These days, information is a commodity being sold. And designers—including the newly defined subset of information designers and information architects—have a responsible role to play. We are interpreters, not merely translators, between sender and receiver. What we say and how we say it makes a difference. If we want to speak to people, we need to know their language. In order to design for understanding, we need to understand design.

 

Erik Spiekermann Quotes Design 06

 

The materials shape your idea.

 

I learned that a brand isn’t a logo. There has to be implementation. You can design anything, but if the rubber doesn’t hit the road, you’ll be remembered as a great strategist but the client won’t call you again. You have to have a strategy, and you also have to be able to visualize it—one doesn’t go without the other.

 

Erik Spiekermann Quotes Design 05

The attention someone gives to what he or she makes is reflected in the end result, whether it is obvious or not.

 

I’ve always designed typefaces for specific solutions. In other words, a problem. Everything has always been done for a specific purpose. As a designer, you work for somebody else. That’s not negative. I work for a client, and I solve their problems. I bring my artistic vision to it, my creativity, whatever you want to call it. But essentially, I’m being paid to blow somebody else’s trumpet.

 

You are what you are seen to be.

 

Erik Spiekermann Quotes Design 04

 

The function has to be the brand. If it works well, it has to be branded at the same time.

 

If a design project is to be considered successful—and success is the true measure of quality—it must not only add an aesthetic dimension, but solve the problem at hand.

 

I mean, everyone puts their history into their work.

Erik Spiekermann Quotes Design 02

 

When I do typography, it’s 150 percent effort.

 

I know a lot of advertising agencies that thrive on overtime because they have a dozen interns who work for free and they spend their weekends doing free pitches. We don’t do free pitches because we don’t have any free time. Our time is valuable, and I’m not giving away ideas to some prospective client. That’s giving away the most valuable resource you have.

 

Work is gas. Work will fill any given volume.

Erik Spiekermann Quotes Design 03

 

 

Clients need to understand that they’ve hired us to do something they are not good at. And that they need to pay us for our knowledge, skills, experience and, yes: attitude.

 

 

My advice, now and always, is learn, learn, learn—starting right here.

 

Contrary to popular belief, designers are not artists. We employ artistic methods to visualize thinking and process, but, unlike artists, we work to solve a client’s problem, not present our own view of the world.

Erik Spiekermann Quotes Design 07

Being a designer is all about attitude. Sure, you have to know your craft, but as we both found out, you can pick most of that up over time if you’re prepared to listen, watch, and learn. Without the right attitude, however, you’ll always be a vendor to some people, a crazy artist to others.

 

So what’s new? The present generation of UI/UX designers may think that they invented a new way of designing, but we’ve had these issues forever. Trying to fit a lot of text onto the how-to page inside a pharmaceutical package is probably more difficult than doing the same on a screen. There’s no zoom on that paper, so it has to be really well done just for that one version and circumstance. My method? Think. Consider. Sketch. Think again. And look around you. It’s all been done before, albeit with different code.

 

Inspiration. From real life. I open my eyes and I travel and I look. And I read everything.

 

Erik Spiekermann Quotes Design 01

 

By Erik Spiekermann

Sourced from TUBIKSTUDIO.COM

By Carrie Cousins

All three of this month’s essential design trends have to do with typography. And the trends showcase some pretty stellar ways to use beautiful type to create user engagement and make a great first impression.

One common theme among these designs is that all of the typography styles are highly readable. If you plan to work with a more trendy or funky text element, choose a typeface that users won’t struggle to read. The trendy technique is the trick with these designs, not the typeface itself.

Here’s what’s trending in design this month:

1. Just Type Above the Scroll

While a great image can help draw users into a design, sometimes the right words and space are the ticket.

The key to making the most of this design trend is to refine your message. The words need to be simple, say something meaningful and create value for the user.

So how do you do it?

  • Start with a key phrase. It can be your mission or a value proposition for users. Tell users what you bring to the table and why your website will be important to them.
  • Pick a simple typeface that has the same mood as the messaging for longer copy blocks.
  • If the text block is short, such as with Types of Type, consider a funkier type option to draw users in.
  • Make the most of space. Note that in each of the examples below, text has plenty of room to breathe, making it easier to read at a glance. Space can also help draw the eye to text, and can balance text elements if you don’t want to center them on the screen, such as Design Ups.
  • Use color to help add visual interest. Bright, trendy hues can help draw users into the design. Color can also help set a mood that correlates to messaging.

When working with a type-heavy design, don’t force it. Sometimes you won’t have enough text to fill a full “screen.” Less+More and Type of Type use color blocking to create multiple panels that are sized perfectly for the text content therein.

less
designups
types

2. Text in White Boxes

With so many bold visual elements in website design projects—and so many responsive breakpoints to deal with—white boxes are re-emerging as a container element for text. White boxes with dark text inside can ensure readability when it comes to messaging on top of photos, video or illustration where there is color variance.

And while this trend might sound a little, well…sloppy or lazy, it actually looks great when done well.

You can’t just slap a box anywhere on an image and hope for the best. White boxes need to be placed strategically so that they don’t cover important parts of the image and so that users do move to them in the course of looking at the design.

White boxes need to be big enough to contain a reasonable amount of text and you should have a plan for this element on smaller screens, such as allowing everything in the text box to drop below the main image. Don’t try to put a text box over an image on smaller screens because you’ll end up with a box of text that’s too small to read or the box will cover most of the image itself.

If you pot for the white box treatment, have fun. Each of the examples below use white boxes in completely different ways.

Do Space cuts a white box into the bottom corner of the image so that most of the image is visible. The white box bleeds into the white space below so that it almost looks like it comes up out of the panel below. This technique helps connect the main slider to the content below (and can even encourage scrolling).

do-space

HowIt uses circular blobs so that the white text boxes better match the tone of the background illustration. This subtle shift in shape, so that the boxes appear more fluid helps connect the elements so that the boxes and background have a consistent feel. You don’t want white boxes for text to feel like they are haphazardly placed on the background. (That doesn’t work and won’t help create a cohesive feel for users.)

howlit

Macaulay Sinclair has more text than the other examples using one part of an image-panel grid to hold the text element. Here, the image behind the white box serves no information value. It has a color and movement scheme that looks similar to other images and mostly serves to create cohesion between the text element and rest of the design.

macaulay

3. Typography Cutouts

No one ever said that text has to be a series of solid filled letters. More designers are opting for typography cutouts that feature a color block over an image so that the image comes through clear lettering.

This technique can work with still or moving images and with full screen overlays so that only a small amount of information comes through letters (almost to create a texture) or with more of a block-over-image-style with more of the background image visible.

The trick to making this work is the right typeface. Letters have to have thick enough strokes so that the image or texture in the background is visible. You can’t do this with a thin or condensed font with any consistent success.

This technique also works best if the number of words and letters is fairly limited. Stick to one to three words with 10 or fewer letters or use very common words that users will know at a glance.

Danbury uses a bright text cutout as a draw to encourage users to engage with the video call to action. The entire orange box is just a giant button.

danbury

Fusion Winery uses a background video of a vineyard in the lettering. What’s great about this design is the triple layer effect: Video background below white text cutout below a product image.

wine

The Kaneko uses an unidentifiable image as the fill for letters. If you opt for this style, keep this background simple as done with this design. There’s just a touch of color and texture that draws the eye to the text on the stark canvas.

kaneko

Conclusion

The collection provides inspiration for those projects that might not have a great image or video, so that you can still find a way to create something that users will respond to. Don’t be afraid to use text as a visual and informational element in this design.

What trends are you loving (or hating) right now? I’d love to see some of the websites that you are fascinated with. Drop me a link on Twitter; I’d love to hear from you.

By Carrie Cousins

Carrie Cousins is a freelance writer with more than 10 years of experience in the communications industry, including writing for print and online publications, and design and editing. You can connect with Carrie on Twitter @carriecousins. More articles by Carrie Cousins

Sourced from webdesignerdepot.com

Sourced from ABDUZEEDO

After a Weekend of rest, I thought we should start it all with a burst of web design inspiration. A collection really well-designed by Prague-based design boutique Creative Mints. A great balance of typography, layout, and colors; somehow quite different from the usual “guaranteed approaches” and stock photo gallery designs we are seeing lately. It’s great to understand the UX of things but it never hurts to also put an accent on the playfulness of your designs.

ocated in Prague, Czech Republic, Creative Mints is a design boutique with projects focused mainly around illustration, UI/UX and Graphic Design. We really do enjoy their work on ABDZ, make sure to check out their Behance.

More Links

Web Design

Web Design Layout Collection by Creative Mints
Web Design Layout Collection by Creative Mints
Web Design Layout Collection by Creative Mints
Web Design Layout Collection by Creative Mints

 

Sourced from ABDUZEEDO

Visual hierarchy is vital to good website design. It’s one of the key principles that will make your website effective in accomplishing your goals for it.

There’s a lot of theory behind visual hierarchy. It’s so important that a lot of study and effort has been put into understanding how and why it works. Understanding it can help you use it.

Design is a Form of Communication

At its core, design is a form of visual communication. It’s about communicating ideas to others through a visual medium. This is true of all forms of design. It is especially true of web design, the design school of the information industry.

Massive blocks of information do not communicate well because people are actually visual thinkers. We don’t simply process data. People do not simply see things. Rather, human beings organize what they see in terms of “visual relationships”.

The Rise of Visual Hierarchy

The Rise of Visual Hierarchy

Why we see in terms of relationships has been a study unto itself. Anthropologists contend that it’s a remnant of hunter-gatherer history that helped our ancient ancestors survive.

A practical, less scholarly way of looking at it is that it’s just the way our brains understand information. We group similar elements together and organize them into meaningful patterns that we can use simply use.

Regardless of how you think the visual hierarchy used by the human brain came about, it is how we organize information and utilizing it is a very effective way of communicating a message.

The Tools of Visual Hierarchy

Now you understand the visual hierarchy is a useful tool for communicating information, how do you create it as a web designer?

The tools to pull it off are very simple and easy to learn. All you need to do is figure out how to use them.

Size

size

Bigger objects are essentially shouting. They demand people pay more attention to them. In terms of visual hierarchy, a viewer’s eye will naturally be drawn to a larger object.

This is one of the most powerful tools you can use for visual organization. Correlate size with importance. Your biggest elements should typically be your most important, while the smallest ones are normally the least important.

Color

Color

Color is both an organizational tool and a way of adding personality to your web design. Bold and contrasting colors demand a viewer’s attention and focus.

This is best used for buttons and hyperlinks. As a tool for adding personality, color can be used in more sophisticated ways.

Fun, bright colors can make a page exciting while claiming colors create a soothing feel. Color is very important. It can communicate a brand (i.e. Pepsi blue, McDonald’s yellow) or can be used as symbolism (i.e. passionate red). You can even apply colors as a way to classify info within the visual hierarchy.

Fonts

Fonts

Selecting the proper fonts for your design is critical when wanting to create visual hierarchy. It’s not just the font itself important, but how you use it. The weight and style you use are as important as the area of the site you place them in.

To organize what’s important, try using a variety of type sizes and weights. Italics serve their purpose as well in certain situations.

You can create a typeface hierarchy on your site with text of various sizes, weights, and spacing. It doesn’t matter that you’re using a single font on your website.

typeface hierarchy

By using a variation of it size and weight, you are not only drawing attention to the more important elements, but you are creating an overall composition that will be easy to read and understand for the visitor.

White Space

In the midst of all this careful use of visual hierarchy, make sure there is whitespace left. You need to give your content room to breathe.

Negative space is an important part of the visual design, defining it just as much as a positive use of space.

White Space

White space is often defined simply as being “the space between stuff on the page;” although, this extra space is not always white in color, which has led to more individuals instead referring to it as “negative space.”

White space essentially enables you to dictate which particular features of a website that you’re building should stand out over others. Thanks to the welcoming type of layout this creates, visitors will be more likely to remain on the website for longer amounts of time.

Whitespace offers a break for the eye and also highlights important elements. Too much crowding and clutter can drive viewers away because they can’t understand what is actually important.

The Human Eye and Scanning Patterns

The human eyes work in predictable ways. They are automatically drawn to certain points of interest. Some of this does depend on the individual person, but most people follow particular, predictable trends with how they view just about everything, including websites.

F-Pattern

This is the scanning pattern most people use for text-heavy websites like blogs or wikis.

The reader first scans a vertical line down the left side of the page, looking for keywords or other points of interest in the first few sentences of the paragraphs.

F-Pattern

Once the reader finds something interesting, he or she starts reading the text normally in horizontal lines. The overall pattern resembles the letter F (or E).

Z-Pattern

This scanning pattern is used on pages that are not centered on the text. Readers first scan a horizontal line across the top of a page. This of often because of the menu bar, but it is also a habit that comes from reading left to right.

Once the eye reaches the end of the horizontal line, it moves down and to the left, another left to right reading habit, and starts over again. The pattern resembles the letter Z.

Z-Pattern

This is a useful pattern to take advantage of in your site’s visual hierarchy. It addresses many basic site design requirements: calls-to-action, visual hierarchy, and branding.

It’s really, really great for those times when simplicity is a major priority and the call-to-action is the primary purpose of the page. It brings a sense of order to simpler websites. However, complex content does not work terribly well with the Z-pattern and the F-pattern might be a better choice.

These are a few best practices:

  • Separate your background so that the viewer’s sight is kept within the visual pattern framework.
  • Logos look good in the upper left, right where they are immediately visible.
  • A colorful secondary call to action within the Z-pattern can be a helpful guide for users.
  • Featured image sliders in the center of the page help separate the top and bottom aspects of the Z-pattern visual path.
  • Add icons to the left side of the page to guide people to the call-to-action.
  • The visual pattern should end in your primary call-to-action.

Understanding visual patterns and the natural movement of the human eye can help you arrange your website design to your best advantage. When you know what people will be looking for, you can arrange information so it best catches their attention and guides them where you want them to go.

Conclusion

Visual hierarchy is an important part of web design. Understanding how it works will allow you to create as effective a site as possible.

It provides a guideline for organizing your content. Take a look at some good site designs you’ve seen and see how they’ve used it to effectively communicate their message.

By

Sourced from speckyboy

By

HP is opening its software to help creatives and brands collaborate to achieve greater and more rapid customisation and personalisation of their products.

HP’s SmartStream Designer software, famously used to create the personalised bottles for the ‘Share a Coke’ campaign, has been stripped back to make it more accessible to designers. Until now the software was only accessible to owners of HP digital presses, but the lighter version of the software – HP SmartStream Designer for Designers (D4D) – is set to democratise the digital printing process.

The beta trial was unveiled at a launch party at the Black Swan Studios in London’s Bermondsey on Thursday.

Smirnoff gave its blessing to HP and emerging designers, the Yarza Twins, to show off the capabilities of the technology. The Yarzas created a design concept using 21 characters, 21 hats, 21 bodies and 21 patterns to reflect the brand Smirnoff 21 and showcase the capability of D4D. This resulted in the creation of individualised bottles, posters, table wrappings, wallpaper, based on an ‘Everyone the same, Everyone different’ concept.

“We are living in very tough times where everyone is very individualistic and believes their community is the best, so we wanted to bring it back the idea of everyone is the same, everyone is different,” added Marta Yarza.

Nancy Janes, global head of brand innovation at HP, said: “Share a Coke was the lighthouse campaign that people are very familiar with and helped people understand that HP digital printing is no longer short run.

“Now what the designers are looking for is; how do you take digital printing to the next level to make packaging truly unique, regardless of volumes.”

D4D is free-to-use and allows designers to create 20 variable images from every seed file, which will enable rapid prototyping.

Janes explained: “The designers can fix any design elements that need to remain and then vary or randomise everything else. If the brand client signs off on the concepts it can go into full blown production with a D4D enabled HP print service provider.”

Steve Honour, design manager at Diageo Europe & Africa, said the company would “love to” roll out the bottle designs on a commercial scale and added the HP technology meant this was a “feasible possibility.

“The idea of taking this to a larger scale and people standing and spending 10 minutes looking at the packaging as art is actually really exciting because sometimes art, design and creativity is not accessible, or shareable, let alone purchasable and touchable,” said Honour.

Silas Amos, who coordinated the collaboration between HP, Smirnoff and the Yarzas, believes allowing designers access to the software to prototype designs is “changing the rules”.

“Advertising has become a real-time medium, leaving packaging behind, but the opportunity is now here to move the packaging industry forward,” said Amos. “It is the only interruptive media left. I can screen out a banner ad, look away from a magazine, turn off the television, but if I want to get to the aspirin or the deodorant, I have to go through the packaging.

“You have to be very careful you are building the brand and not diluting the brand. The good stuff will be based on brands that have invested in building strong iconography that can be flexed so it is un-mistakably them even when they are highly abstracted.”

HP has created videos featuring the Yarzas to show off the capabilities of the software and explain how it can be used.

The 500 designers who will trial the software are being accepted on a ‘first come first served’ basis, and there will be 15 ‘super users’ providing detailed feedback during the beta trial.

Janes said the UK was chosen for the trial due to its innovative nature and because the “design community in London is really quite dynamic”.

Other designers and artists who have already trialed the technology and spoke of their efforts at the launch party included Emily Forgot, Supermundane and David Shillinglaw.

“I think this is a really playful technology and it feels like the future,” said Shillinglaw.

The software also allows users to print in a combination of seven colours than the usual four (cyan, magenta, yellow, and black).

“When you print normally, it does not look the same as your screen, but this way it looks exactly the same,” said Marta Yarza.

The software can be used on any type of print, whether that be a corrugated piece, a table covering, the floor, a leaflet, a brochure or a business card.

“Where people are looking for omnichannel executions I think print has a big role to play,” concluded Janes.

The new software will be trialed among 500 UK-based designers. From November 6 for a three-month period, designers will be able to register to be part of the beta programme by visiting here.

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Sourced from THEDRUM

By Jenny Brewer

The Future had its inaugural event from 3-4 November in Dublin, organised by the founder of creative festival Offset, and its remit was simple: to explore the ideas, attitudes and innovations that will affect the design industry in years to come. Around 70 speakers took to four stages, ranging from design studios – many from Ireland and others further afield – to trend forecasters, ad agencies, and big name designers like Stefan Sagmeister and Paula Scher, plus It’s Nice That founders Alex Bec and Will Hudson, to share their take on the future. Interpretations were eclectic but generally offered a refreshing point of difference to typical talks that focus on existing work and hindsight, with many presenting analysis and predictions for the shifts in creativity and wider culture. Here we’ve picked out a few highlights and interesting takeaways.

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Fjord Dublin

Lorna Ross, Fjord Dublin

Lorna Ross, director of design agency Fjord’s Dublin studio, kicked off her talk talking about her obsession with photos of “desire paths” on the internet. Google the term, she says, and you’ll discover countless times when humans created more efficient shortcuts to their destination. She used this as an analogy for how we should approach the creative process. “Design is about paying attention to what people are already doing.”

She continued that “designers are being asked to do increasingly difficult things,” as a direct result of changing eras of society, from a manufacturing economy to an experience economy, attention economy, sharing economy, and now a data economy. Members of her team are working in emerging technologies and experimenting with their job roles – for example, one staff member is a synthetic personality architect, designing what robots say and how they say it.

Lorna also touched upon the agency’s acquisition by Accenture, and commented that Facebook, Google and Amazon have grown their art and design headcount by 65%, showing a widespread investment in design by multinational tech companies. They’ve realised, she says, that “design needs to unlock the transformative potential of new technology”.

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Campbell Addy: Getty

Will Rowe, Protein

Protein founder Will Rowe presented trends based on statistics and examples from its recent report. One of these focused on young people’s trust of institutions, finding that only 22% of millennials trust brands, and only 28% trust the media. “With the commercialisation of political issues, 35% [of Gen Z] think it’s positive but misses the mark,” Will said. “It comes down to authenticity.” He referred to brands who’ve succeeded, such as Getty, which commissioned photographer Campbell Addy to produce a series addressing diversity in stock imagery; and Absolut, which continued its long history of supporting LGBTQ rights with campaign Kiss With Pride.

This was echoed by The Future Laboratory’s Trevor Hardy later on, who stated that “60% of Gen Z support brands that take a stand on issues they feel strongly about, and take a civic role”.

Will also talked about how the virtual is merging with reality, and how brands are adapting, referring to Lil Miquela: “The archetypal Instagram star who goes to all the right parties, has a record label, a fashion line – the only difference is she doesn’t exist, she’s an avatar.” He also mentioned Alex Hunter, a virtual character in Fifa who just signed a sponsorship deal with Coca-Cola; and Google Pixel and Boiler Room’s VR dancefloors project.

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Technology Will Save Us

Technology Will Save Us

Demonstrating its latest release, the Mover Kit, Technology Will Save Us spoke about the importance of offering kids off-screen fun. “Technology is closed to our generation,” said founders Bethany Koby and Daniel Hirschmann. “We don’t know how to fix it, it’s not a creative platform. But tech isn’t novel to kids now. They’re fearless about tech. We had a kid, and we were shocked at how pink and blue the toys still are. They don’t engage or empower kids, or help them to see what they’re capable of.”

Tech Will Save Us makes DIY kits for kids to learn making and coding skills, in line with the STEAM approach to education. There is a STEAM Barbie, Bethany said, “but a doll in a pencil skirt and glasses isn’t going to inspire a generation with the practical skills for the future”. The company was also instrumental in the design of the BBC’s Microbit, which aimed to inspire a generation of digital makers, and so far has seen a 9% increase in kids saying they would study ICT/Computer Science, and a massive 23% increase in girls doing so.

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Stefan Sagmeister

Stefan Sagmeister

Dividing opinion but drawing a crowd, as always, Stefan Sagmeister didn’t exactly stick to the “future” brief with his talk. He did, though, talk about how he believes beauty is becoming culturally important again after 50 years of modernist principles ruling design. “These economic modernists used modernism to pollute our earth with urbanist blocks,” he said, blaming architects Adolf Loos, author of Ornament and Crime, Ludwig Mies van der Rohe and Le Corbusier for “telling the world what it should look like” – which resulted in many cheap and “ugly” uses of modernism to save property developers money. “There is a joke that goes, ‘what is the difference between God and Le Corbusier? God never thought he was Le Corbusier’.”

Stefan also conducted what he called the Mondrian Test on the audience, asking for a show of hands on which of two images was the real Mondrian. “It’s never less than 85% of audiences that recognise the real one,” he claimed, explaining his inference that people instinctively know real beauty. “Form follows function is bullshit. Beauty has a function too.” He also referred to New York’s Highline as an example of beauty’s impact on behaviour. “It’s one of the most successful and influential buildings in post war America. There has not been a single crime on the Highline. I’ve never seen a single piece of trash. That is a direct result of its beauty. And right now there are around 16 projects worldwide trying to emulate its design.”

By Jenny Brewer

Sourced from It’s Nice That

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WhatTheFont is a Shazam for fonts — a designer’s dream.

The app is a mobile version of the website previously developed by MyFonts, and recognizes any font you point at with your camera, including a variation of similar fonts to go with it. It also lets you buy the fonts you find directly through MyFonts or even share them on social media.

According to Seah Chickering-Burchesky, Senior UX Designer at MyFonts, the app can identify 130,000 fonts with the help of machine learning. The latest version of the app can spot multiple fonts in one image, as well as connected scripts.

I tried it out myself to see what the fuss was about, and it seems to be working perfectly for now: I took a picture of my screen, it checked for text, then let me choose which word’s font I wanted to identify. After that, it offered a list of fonts, usually the exact one I was trying to find.

The app aims to make it easier for designers and anyone who needs to recognize which fonts are used in any text, from websites to prints, ideally asserting. There are a few websites that recognize fonts, like Matcherator and WhatFontIs, but this is the first time we’ve seen the functionality in a mobile app

The app comes in hand for recognizing fonts in the real world, where visiting a website would be impractical. Users on ProductHunt have greeted it mostly with positive reviews so far, but we’ll have to wait a bit longer to see if succeeds in the long run.

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Sourced from TNW